What are some lesser known facts about Draupadi?

 

1. Draupadi was the daughter of Hutasana (the god of fire) and the adopted daughter of Drupada.
2. Draupadi was an incarnation of goddess Mahakali and her wrath burnt the entire Kaurava clan to ashes.
3. Draupadi was a single incarnation of four goddesses, namely, Shyamala (wife of Dharma), Bharati (wife of Vayu), Sachi (wife of Indra) and Usha (wife of Ashwinis).
4. Draupadi was an incarnation of goddess Shri who was the wife of five celestial Indras of five celestial realms. These five celestial Indras took birth in dwapar yuga as the five Pandavas, namely, Yudhishthira, Bhima, Arjuna, Nakula and Sahadeva. Draupadi reunited with them in dwapar yuga.
5. Lord Shiva blessed Draupadi with the boon of five husbands each having the five supreme qualities of justice, strength, valour, handsomeness and tolerance individually.
6. Her actual name in Mahabharata was Yajnaseni, because she was born from the fire of the yajna (sacrifice) which Drupada performed to obtain a son who would be able to defeat his enemy Drona. Her brother Dhristadyumna emerged from the fire, followed by Yajnaseni herself. Dhristadyumna became the son of Drupada and Yajnaseni became the daughter of Drupada.
7. Draupadi was extremely fond of playing with the bow and arrow. No wonder after her marriage with the five Pandava brothers, Arjuna became her favourite husband, and there was always a hidden warrior within Draupadi.
8. Draupadi had a bowl which would always be filled with food. This bowl helped the Pandava brothers to survive during their period of exile. Goddess Lakshmi presented Draupadi this bowl before the start of the exile.
9. Duhshasana, the second Kaurava brother, tried to disrobe Draupadi in front of the whole Kuru assembly, after the Pandavas had lost everything to Kauravas in a game of dice. Duhshasana dragged Draupadi by her hair and forcibly brought her in front of the Kuru assembly. Enraged, she took a vow that she won't tie her hair until she washed it with Duhshasana's blood. During the Kurukshetra war, Bhima killed Duhshasana and brought his blood to Draupadi. The daughter of Drupada bathed her hair with the blood and tied her hair once again like before.
10. Draupadi represented these qualities. Even in the hardest of circumstances, she always stood with a raised head, with her honour held high. Draupadi was a patron of knowledge. As the empress of Indraprastha she played a crucial role in governance of her kingdom along with the five Pandava brothers.
11. Draupadi is one of the five virgins. She is one of the five Panchakanyas, a group of five iconic heroines who owns virginity and has the ability to regain it. The five Panchakanyas are Ahalya, Draupadi, Kunti, Sita and Mandodari.
12. Draupadi is the universal icon of feminism. She was the iconic heroine of dwapar yuga who took birth for the establishment of dharma. Along with deity pair Nara-Narayana (Arjuna and Lord Krishna respectively), she played a pivotal role for this purpose.

Image courtesy: Perplexity AI

How was the relation of Draupadi and Rukmini? Are they friends?

 In the Mahabharata, there is no interaction between Rukmini and Draupadi. Infact Rukmini is mostly only either referenced or mentioned in flashback stories in the Mahabharata.

As per Mahabharata Draupadi was close with Satyabhama. Satyabhama visited Draupadi in the forest and both are mentioned as old friends. When Draupadi disguised as Sairandhri, she introduced herself as Satyabhama's former maid and later Satyabhama also visited Draupadi in Upaplavya during the peace negotiations.

Satyabhama does mention that Rukmini looks after Draupadi's sons in Dwaraka

Your sons are skilled in use of weapons. They are living happily with Abhimanyu in Dvaravati, a place they love. Like you, Subhadra loves them with all her soul. Without any conflict, she is affectionate towards them and has no worries on their account. Pradyumna’s mother (Rukmini) loves them with all her soul. Keshava instructs them, with Bhanu” and the others.

• 224, Draupadi-Satyabhama Samvada, Mahabharata.

Srimad Bhagavatam has two direct interaction between Rukmini and Draupadi

When Krishna visited Indraprastha along with his wives, Draupadi welcomed and worshipped them.

Instructed by her mother-in-law Kunti, Draupadi duly worshipped the queens of Krsna such as Rukmini, Satyabhama, Bhadra, Jambavati, Kalindi, Mitra inda. Saibya, and the pious Nagnajiti and other women-guests, with garments, wreaths of flowers, ornaments, etc. King Dharmaraja made comfortable arrangement of lodging for Sri Krsna and that of his queens, members of the army, followers and counsellors providing everyday with new objects of enjoyment.

• Chapter 71, 10th Skandha, Srimad Bhagavatam.

On another occasion, we have Rukmini narrating her marriage story to Draupadi.

Rukmini replied “Like a lion taking away its share (prey) from the herds of goats and sheep, the Lord carried me away, placing his foot on the heads (lit. covering with the dust of his feet the heads) of invincible warrior princes (like Jarasandha, allies of Shishupala) who determined to make me over (in marriage) to Shishupala, stood (ready to fight) raising up their bows (and arms). May those feet of Lord Krsna, the abode of Sri (goddess of beauty and wealth), be available to me for worship, forever.”

• Chapter 83, 10th Skandha, Srimad Bhagavatam.

Why Draupadi did not defend herself from dushasan who came to drag her?

 This is a valid question that if Draupadi could defend herself from the mighty Kichak, throwing him down and running to the assembly (in protection of her husbands and the king), then why could she not defend herself from Dusshasan, who was less powerful than Kichak? This is how Draupadi dealt with Kichak in Matsya –

‘Having said this, the suta’s son grasped her by the right hand. Having been thus seized, she threw Kichaka down on the floor. She rushed to the assembly hall where King Yudhishthira was seated and sought protection.

(BORI CE, Chapter 611)

If Dusshasan had tried to drag her to the assembly, she could have pushed him too and ran to the assembly expecting safety. But she didn't need to do that, as she was already in the assembly!

Those who have read BORI CE would know that Draupadi was mentioned to reach the assembly herself after Yudhishthir sent his messenger to summon her. But, those who have read the non-critical versions of Mahabharat (Gita press, KMG) would not be aware of this, and the TV shows have also depicted Dusshasan doing so, firmly nailing this act in public perception, as intended by the interpolators.

Let me clarify that I do not invent any theory, but only interpret and state what is mentioned in the text. This is what BORI mentions –

On hearing of Duryodhana’s intentions, Yudhishthira sent a trusted messenger to Droupadi. Panchali was going through her menses then. She was weeping and clad in a single garment tied below the navel, she went to the sabha and stood before her father-in-law.

(BORI CE, Chapter 285)

This is mistranslated by Gita Press and KMG as ‘Yudhishthir asked Draupadi to come to the assembly and stand before her father-in-law’, hiding the incident!

I haven't read BORI fully (will have to read it now), and my analysis are mostly based on KMG and Gita Press (I realised too late that Gita Press version is full of interpolations from southern recensions). I used to think that how come Dusshasan was the only evil one amongst the Kauravs (I have covered Suyodhan in detail in a separate answer), whereas all other Ājmidhs were noble and virtuous. And the idea of dragging a woman (even if slave) from her palace (room) to the gamble assembly, pulling her by the hair, seems too cruel physically! And the king, queen, elders (including Bhishma) and her five husbands watch all this silently! And Draupadi keeps lamenting and speaking while being dragged by her hair, her sari (only garment) almost falling off!

But this was not the case! It was just another interpolation (like the interpolation of slapping/showing thigh by Suyodhan, getting cursed by Bheem). And, it is not just me who is saying that, but BORI scholars feel the same!

An example of an interpolation revealed due to contradiction in two conseutive stanzas occurs in the Sabhaparvan. After the game of dice, Duryodhana sent his messenger to Draupadi to take her to the dash of the Kauravas to do menial work. When Draupadi refused and instead raised the question about her status as a dasi, Duryodhana asked the same messenger to go to her again this time to bring her to the sabha to get the answer to her question. The messenger accordingly went to her and told her Duryodhana’s message. Draupadi apparently was in no mood to act according to Duryodhana’s wish. Now instead of hearing about a clear refusal by Draupadi and the messenger’s return to the sabha without her, what we actually hear in a couple of stanzas is that Yudhisthira having come to know what Duryodhana desired, sent a messenger, acceptable to Draupadi, and she, without hesitation, came to the assembly and stood before her father-in-law. And in spite of the fact that Draupadi was then already present in the assembly, to our surprise, we are informed once again that Duryodhana asked his messenger to go to Draupadi to get her to the sabha. There is thus a contadiction between two passages. If the one has place in the text, the other should not. And yet the editor has admitted both the passages of contradictory reports in the constituted text since they occur uniformly in all the versions of the epic.

(Annals BORI, 82: 2001)

The interpolation of vow/curse to break Duryodhan's thigh is mentioned next, with three pages of arguments (the first few lines are posted below) –

One example of such interpolation is related to the famous incident of the vow of Bhima to break the thigh of Duryodhana in the great war (2. 63. 14) and the curse of the sage Maitreya to the same effect (3. 11. 34). They, no doubt, occur in all the versions, but their spurious nature is revealed by the fact that in the entire account of the great war, no one, not even Bhima and Duryodhana, at any stage shows any awareness of either the vow or the curse!

I have already mentioned about this interpolation in my answer on Suyodhan. Similar to this vow, Arjun's vow to kill Karn was an interpolation, as none of Arjun, Bheem and Yudhishthir displayed any awareness of this vow ever, with Bheem wanting to kill Karn on several instances!

Coming back to the question, this is the sequence of events on the day as per BORI (which removes the incidents not mentioned consistently across all manuscripts) –

• Yudhishthir lost all property, all five brothers and finally Draupadi, ‘blinded by dice’.
• Suyodhan sent Pratikami (after Vidur refused and reprimanded) to summon Draupadi to the assembly ‘to mop the floor’
• Pratikami was returned by Draupadi, telling to question Yudhishthir what right he had to stake her after losing himself?
• Nobody answered to the question raised by Draupadi, and Suyodhan sent Pratikami back to ask Draupadi to come to the assembly and ask Yudhishthir herself.
• Pratikami delivered the message to Draupadi in a sorry state. Draupadi seemed to have left things on destiny then saying –

“The one who determines everything has destined thus. Both the young and the old are touched thus. It has been said that dharma is supreme in the worlds. If it is sustained, peace will be brought.”

(BORI CE, Chapter 285)

• Yudhishthir too sent a trusted messenger to Draupadi meanwhile to ask her to present in the assembly. Draupadi would not disobey the emperor.
• Draupadi then went to assembly weeping and stood before Dhritrashtra, in her menses, clad only in a single garment (saree without blouse).
• Suyodhan then asked Pratikami to bring her in front of them (Dhritrashtra was not playing and would be seated in a separate section from the gambling table), so that they can talk to her.

“Looking at the faces of the assembly, King Duryodhana delightedly told the suta, “O Pratikamin! Bring her here. Let her be in front of us, so that the Kouravas can speak to her.”

• Pratikami got afraid, and said how could he say that to her. He was reluctant to obey Suyodhan any further.
• Suyodhan then asked Dusshasan to get Draupadi himself. Dusshasan then pulled/dragged Draupadi to the middle, her half-garment (pallu) becoming loose, making Draupadi burn with shame (this was not done intentionally by him). Draupadi was standing and not lying on the floor. Dusshasan might have grabbed her hair while pulling.
• An interpolation was inserted here in the text (in the parent manuscript itself, hence appearing in all manuscripts) mentioning Dusshasan entering the room of Draupadi, suggesting that he dragged Draupadi by her hair all the way from her room to the assembly, abusing her on the way –

• Draupadi then warned Dusshasan, ashamed and taunted all Kurus in the assembly, directly questioned Bhishma-Drona and threw angry glances on her husbands. Bhishma answered and a debate began. Rest events have been stated by me before.

Thus, Dusshasan could have only pulled a standing Draupadi, grabbing her hair, from the assembly section to the gambling table, though the interpolation depicted an exaggerated scenario of him pulling her with her hair all the way from her palace. If the latter was the case, Bheem would have stood up to vow against him right upon seeing this, and not wait till he attempted to disrobe later.

BORI scholars have only commented that there are ‘two versions’ of how Draupadi reached the assembly (reporting herself after Yudhishthir sent his messenger, and being dragged by her hair cruelly by Dusshasan) and one of them has to be an interpolation. They did not recognise the possible scenario of Pratikami being asked to bring her to the gambling section the third time. I can say with certainty that the Dusshasan version was the interpolated one, based on the following arguments –

• Why would Draupadi bear such an inhuman behaviour from Dusshasan? If she could throw down Kichak and run to Virat's assembly for safety, she could have thrown down Dusshasan and run to Dhritrashtra’s assembly in presence of her husbands. Kichak was much mightier than Dusshasan.
• The whole idea of a woman being dragged through the corridors by her hair seems gross and unlikely to happen. Bheem (and even Vidur and elders) would certainly get angry upon Dusshasan seeing this, but Bheem only got angry on Yudhishthir (saying to burn his hands for staking Draupadi), that too after the dragging and Bhishma-Draupadi dialogue was over. It is clear that Draupadi was not hurt or molested till this point (only her ‘pallu’ was slipping accidentally; grabbing hair is an insult, but might not be construed as physical violence).
• Yudhishthir had sent his messenger for a purpose - to make Draupadi report to the assembly without any further objections or questions. Draupadi would never disobey Yudhishthir and refuse to come even after his message. In the interpolated version, the Y’thir’s messenger has no role and rather appears as an interpolation!
• In all cross-references about Dusshasan's misdeeds later in Mahabharat, he was never mentioned to ‘drag her to assembly by hair’. He was only mentioned to mouth bad words for Draupadi and touch/grab hair of the ‘ekvastra’ and ‘rajaswala’ Draupadi.

We have been reading and watching (on TV) a heavily interpolated version of Mahabharat that vilifies the Dhartrashtras and glorifies the Pandavs, particularly the landmark events such as the Great Gamble and War Killings. Krishna always cited the Great Gamble to establish the ‘adharm’ of Kauravs in his arguments, but if we remove the following interpolations of the Gamble, then things would not remain so black and white –

• Yudhishthir being forced to gamble (he was an addict of gamble, and played voluntarily)
• Yudhishthir being forced to stake everything, including Draupadi (he continued to play as his own decision, and staked Draupadi eagerly, describing her beauty in great details)
• Dusshasan dragging Draupadi by her hair to the casino (she came herself, in a single cloth, and was only pulled to stand in front of them)
• Duryodhan showing his thigh suggestively to Draupadi (clear interpolation; Suyodhan was rather trying to free Draupadi by asking her husbands to declare her stake by Yudhishthir invalid, again and again)
• Krishna saving Draupadi from disrobement (already rejected by BORI)

If so many interpolations were done in a single event, one can imagine what would have been done to the 18-day war!

To conclude, Draupadi did not save herself from being dragged by Dusshasan because she was already in the assembly, and expected no excesses to be done to her in the presence of her husbands and elders. Dusshasan dragging her by hair to the assembly was a cruel interpolation, probably inserted to compensate for the interpolation of Draupadi's modesty being saved by magical layers of clothes.

8.6K views

4 upvotes

1 share

15 comments

Not for Reproduction

The Different Names of Draupadi: A Detailed Analysis

Introduction

Draupadi, one of the most revered figures in the Mahabharata, is a symbol of strength, dignity, and divine grace. She is known by several names, each reflecting different aspects of her personality, divine origins, and her role in the epic. Understanding these names provides insight into her character, virtues, and the significance of her presence in the Mahabharata. This detailed analysis explores the different names of Draupadi, their meanings, and their contextual importance in Hindu mythology.

1. Draupadi: The Daughter of Drupada

The name Draupadi means ‘daughter of Drupada,’ referring to her lineage as the princess of Panchala and the daughter of King Drupada. This name highlights her royal heritage and the circumstances of her divine birth through a sacrificial fire, making her unique among all women in the Mahabharata.

2. Krishnaa: The Dark-Hued One

One of Draupadi’s most commonly used names is Krishnaa, meaning ‘the dark-hued one.’ This name signifies her exceptional beauty, often described as possessing a complexion as radiant as a dark lotus or a monsoon cloud. It also establishes a connection between her and Lord Krishna, her closest friend and guide, suggesting a divine bond between them.

3. Panchali: The Princess of Panchala

The name Panchali signifies Draupadi’s identity as the princess of the kingdom of Panchala. This name is often used in the epic when referring to her role as the daughter of Drupada and her representation of the pride and honor of Panchala.

4. Yajnaseni: The One Born from a Yajna (Sacrificial Fire)

Draupadi was not born in a conventional manner but emerged from the sacred fire during King Drupada’s yajna (sacrificial ritual), conducted to obtain a powerful offspring who could defeat Drona. Because of this miraculous birth, she is called Yajnaseni, meaning ‘born of a yajna.’ This name highlights her divine origin and her predetermined role in shaping the destiny of the Pandavas.

5. Sairandhri: The Maid of Queen Sudeshna

During the Pandavas’ exile, Draupadi assumed the disguise of Sairandhri, a maid in the court of Queen Sudeshna in the kingdom of Matsya. This name is significant because it reflects her resilience, adaptability, and ability to maintain her dignity even in adversity. As Sairandhri, she endured harassment from Kichaka, which ultimately led to his destruction by Bhima.

6. Malini: The Bearer of Garlands

Draupadi is sometimes referred to as Malini, meaning ‘one adorned with garlands.’ This name can be connected to her Swayamvara, where she garlanded Arjuna as her chosen husband. It symbolizes her agency in choosing her partner, a rare privilege for women in that era.

7. Parshati: The Granddaughter of Prishata

As the granddaughter of King Prishata, Draupadi is also known as Parshati. This name reflects her noble lineage and reinforces her connection to a powerful warrior ancestry, highlighting the warrior spirit she inherited.

8. Nityayuvani: The Ever-Youthful One

The name Nityayuvani means ‘the one who is eternally young.’ This could be an allusion to her divine origin, which may have granted her an ageless beauty and charm, distinguishing her from ordinary women.

9. Mahabhaagaa: The Greatly Fortunate One

Draupadi is sometimes called Mahabhaagaa, meaning ‘the greatly fortunate one.’ This name may seem ironic given her hardships, but in a spiritual sense, it signifies that she was blessed with divine protection, unwavering devotion, and an unbreakable spirit.

10. Sumadhyama: The Beautifully Shaped One

Draupadi’s beauty is frequently described in the Mahabharata, and the name Sumadhyama (‘one with a graceful form’) is used to highlight her divine allure and enchanting presence.

11. Pativrata Shiromani: The Epitome of Devotion to Husbands

Despite the unusual circumstance of being married to five husbands, Draupadi remained devoted and just in her role. She is often regarded as a Pativrata Shiromani, the ultimate symbol of loyalty and devotion to her husbands, ensuring that she upheld Dharma (righteousness) in all circumstances.

12. Shyamala: The Dusky Beauty

Similar to Krishnaa, the name Shyamala also refers to Draupadi’s dark complexion, reinforcing her uniqueness and divine charm. Her beauty is often compared to that of the celestial Apsaras.

13. Veerasundari: The Brave and Beautiful One

Draupadi was not only known for her physical beauty but also for her extraordinary courage. The name Veerasundari (‘the brave and beautiful one’) captures both these aspects, emphasizing her warrior-like resolve and charm.

14. Agni Kanya: The Daughter of Fire

Since Draupadi emerged from fire, she is sometimes referred to as Agni Kanya (‘daughter of fire’). This name symbolizes her fiery spirit, which burns against injustice and dishonor, as seen in her vow for vengeance after her humiliation in the Kaurava court.

15. Draupadaputri: The Beloved Daughter of Drupada

As a cherished daughter of King Drupada, she is sometimes called Draupadaputri, reinforcing her father’s pride and expectations of her playing a crucial role in his revenge against Drona.

16. Satyavadi: The Truthful One

Draupadi always stood for truth and justice, never hesitating to question wrongdoing. The name Satyavadi (‘the truthful one’) reflects her unwavering commitment to righteousness.

17. Manini: The Dignified One

Despite the numerous hardships she faced, Draupadi never lost her self-respect. The name Manini (‘the dignified one’) represents her unyielding pride, dignity, and grace even in adversity.

18. Dharmapatni: The Wife of the Righteous Ones

As the wife of the five Pandavas, who are known as embodiments of Dharma, Draupadi is often referred to as Dharmapatni (‘wife of the righteous ones’). This name underscores her role as an integral part of their journey toward justice and truth.

19. Arshajaa: The Noble-Born

Draupadi’s royal lineage and divine birth earn her the title Arshajaa, which means ‘noble-born.’ This name emphasizes her high status and her destiny to influence the course of history.

20. Panchamahishi: The Queen of Five

A unique name given to Draupadi is Panchamahishi, meaning ‘the queen of five,’ as she was married to the five Pandava brothers. This name highlights her rare marital status and the challenges and responsibilities that came with it.

Conclusion

Draupadi’s various names reflect the many dimensions of her character—her beauty, strength, divine origins, resilience, and unwavering commitment to truth. Each name is a testament to her extraordinary journey and her enduring legacy in Hindu mythology. Through these names, we gain deeper insight into her unparalleled influence as a queen, a warrior, a wife, and a beacon of justice in the Mahabharata.

Why is Draupadi also called as Krishna?

 If you read Mahabharat, Draupadi is most often referred to by the name Krishnā. It was her actual name. She was called Draupadi as she was Drupad's daughter.

Krishnā was born with a dark complexion. The word Krishnā means one that attracts. Another meaning is dark. Since Draupadi was born with a dark complexion and was extremely attractive, she was called Krishnā.

Then a young maiden arose from the centre of the altar. She was blessed with good fortune and was known as Panchali. She was beautiful and her waist was shaped like an altar. She was dark. Her eyes were like the petals of lotuses. Her hair was dark blue and curled. She was truly a goddess born in human form. The sweet fragrance of blue lotuses emanated from her body, a full miles away. Her form and supreme beauty were such that she had no equal on earth.

Chapter 155 - Chaitraratha Parva, Section 11, Mahabharat

It clearly states that Draupadi was born with a dark complexion. Her beauty was unequal in the whole world.

The Brahmanas, whose desire were entirely satisfied, gave the two names, “Because of his great courage and because he has been born from lustre, let this son of Drupada be called Dhristadyumna. Because she is dark in complexion, let her be called Krishnā.

Chapter 155 - Chaitraratha Parva, Section 11, Mahabharat

For a similar reason, Arjuna was also called Krishnā as he was of dark complexion and handsome. Before the Virata war, while retrieving the weapons, Arjuna revealed to Uttara his ten names and their meanings, one of which was Krishna.

Affectionately, my father gave me my tenth name, Krishna, since the child had a dark complexion.

Chapter 635 (39) - Go Grahana Parva, Section 47, Mahabharat

Thus, Krishnā was the actual name of Draupadi and was so named because she was all attractive and dark-complexioned.