Draupadi (Sanskrit: द्रौपदी, Sanskrit
pronunciation: [d̪rəʊpəd̪i]) is one of the most important
female characters in the Hindu epic, Mahabharata.
According to the epic, she is the daughter of Drupada, King of
Draupadi is considered as one of the Panch-Kanyas or Five Virgins.
Draupadi as the Empress
4.1 Duryodhana's insult
5 The game of dice
6 Living in exile
6.1 Abduction by Jayadratha
6.2 Kichaka's death
7 Kurukshetra War
8 Death and to heaven
Draupadi as a Goddess and Deity
10 In media and television
11 In literature
Draupadi as an epitome of feminism
13 See also
16 External links
Like other epic characters,
Draupadi is referred to by multiple names
in the Mahabharata. Her names are as follows:
Draupadī - (Sanskrit: द्रौपदी) – daughter of Drupada.
Kṛṣṇā - (Sanskrit: कृष्णा) – one who has a dark
Panchalī - (Sanskrit: पाञ्चाली) – one from the land
Yajñasenī - (Sanskrit: याज्ञसेनी) or Yajñasenā
(याज्ञसेना) – daughter of Yajnasena, another name
of Drupada. Alternately, one born from a Yajña or fire-sacrifice. Of
the two variants of the name, the effeminate former is preferred over
the more classical latter in Puranic texts.
Drupadakanya - (Sanskrit: द्रुपदकन्या) – the
daughter of Drupada.
Sairandhrī - (Sanskrit: सैरन्ध्री) – an expert
maid (her assumed name during her second exile in which she worked as
Virat kingdom's queen Sudeshna's hair-stylist.
Parṣatī - (Sanskrit: पर्षती) – the granddaughter of
Nityayuvanī - (Sanskrit: नित्ययुवनी) – one who
never becomes old.
Malinī - (Sanskrit: मालिनी) – one who makes garlands.
Yojanagandha - (Sanskrit: योजनगन्धा) – she whose
fragrance can be felt for miles.
Vyasa telling the secret of birth of
Draupadi to Draupada
According to the epic Mahābhārata,
Bareilly region (Panchala) is
said to be the birthplace of Draupadi, who was also referred to as
Panchala had been defeated by the Pandava
Arjuna on behalf of Drona, who subsequently took half his
kingdom. To gain revenge on Drona, he performed a yajña called
Putrakameshti yajna to obtain a means of besting him. From the
Draupadi emerged as a beautiful dark-skinned young
woman after her sibling Dhrishtadyumna. When she emerged from the
fire, a heavenly voice said that she would bring about the destruction
of the Kuru line.
Draupadi is described in the
Mahabharata as a
very beautiful woman of that time.
Birth of Dhristadhyumna from yagna made by Bilal habsi, folio of
Draupadi in her Swayamvara
Drupada intended to wed his daughter to Arjuna. Upon hearing of the
Pandavas' supposed death at Varnavata, he set up a
Draupadi to choose her husband from the competitive contest. At
the Swayamvara, almost all the assorted monarchs were unable to
complete the challenge.There are at most three primary variations
regarding Karna's participation. The popular rendition shows Draupadi
refusing to marry
Karna on account of being a Suta, some versions
describe him missing the target by the "breadth of a hair", while
others do not present his participation in the event at all.The
Critical Edition of Mahabharat compiled by Bhandarkar Oriental
Research Institute has officially identified the Draupadi's
rejection as a later insertion into the text. It is ambiguous,
Karna failed or didn't participate at all.
Mahabharata has multiple versions, recensions, retelling spread all
over the Indian subcontinent. As a result, Bhandarkar Oriental
Research Institute published what they intend as a clean critical
edition in 1919, to aid in having uniformity among scholars. The
result was the
Mahabharata Project. Various manuscripts(1259 in
number) were collected from all across the nation, and collated using
critical apparatus. Complicated logical and linguistic formulae were
applied to identify the oldest shlokas and pull out later
contamination as far as possible. After 60 years of extensive and
exhaustive research, BORI published the first Critical Edition in
1966. While comparing and collating these thousands of
manuscripts, it was discovered with much surprise that Draupadi's
rejection sequence - which by the time had become a very popular story
- appears only in the newer manuscripts of the epic, those which were
mainly composed after 16th to 17th Century AD. Vishnu Sitaram
Sukthankar, General Editor of BORI published a comprehensive
"Prolegomena to the Adi Parva", in which he lay bare the reasons
for the removal of various later created, spurious incidents in the
Critical Edition, based on documented evidence and instrinsic
probability. In Prolegomena(Page 65), he disclosed that Draupadi's
rejection was found only in six out of 1259 Sanskrit manuscripts. The
ones which contained the rejection were relatively newer, and the
insertion was evidently the work of a later Vyaisaid. It appears that
the rejection scene became a mainstream incident only after
Neelakantha Chaturdhara published his famous commentary
Bharatabhavadipa  in the later half of 17th Century AD.
Furthermore, M.A. Mehendale published an article in the book "Annals
of Bhardarkar Oriental Research Institute", named "Interpolations
in the Mahabharata", found in public domain, where she shed more
light into the matter. She explained, Draupadi's rejection is not only
later addition, but also an unrealistic situation, given the
patriarchal era, when women had little choice in political alliances,
especially in those Swayamvars or 'self-choice ceremony', where she
was nothing more than "Viryasulka" or a prize to be offered to the
winner of the contest. Interestingly, the prominent retelling and
Mahabharata published before 17th Century AD, namely
Kashiram Das in Bengali(15th-16th Century), Mahabharata
in Oriya by
Sarala Das (15th Century AD), Villi Bharatham in Tamil by
Villiputturaar Alvaar (14th Century AD), Razmnama, Persian
translation of Mahabharata(16th Century AD) have no mention of
Draupadi's rejection either. Even the Southern manuscripts in
Sanskrit, as pointed out by Sukthankar, have no instance of rejection
by Draupadi. Thus, the Critical Edition has omitted the incident as
later insertion to the text. Despite the documented evidence provided
by BORI, as Mehendale puts it in her essay, some of these incidents
are so "deeply impressed on the popular mind" that they "still
continue to haunt public mind". Most fictional novels and TV
series, such as the 1988 series Mahabharat, continue to depict the
rejection scene for maximum dramatic effect and sensationalism.
However, the Critical Edition (also known as Poona Edition) is now
considered an authoritative source on Mahabharat.
In the end, Arjun succeeds in the task, dressed as a Brahmin. As the
other attendees, including the Kauravas, protest at a
the competition and attack,
Draupadi and are
able to retreat. When
Draupadi arrives with the five
Pandavas to meet
Kunti, they inform her that
Arjuna won alms, to which
"Share the alms equally". This motherly command leads the five
brothers to become the five husbands of Draupadi. 
Draupadi as the Empress
With the Pandavas' survival revealed, a succession crisis was started.
Upon the news of Yudhishthira's death, the title of crown prince had
fallen to Duryodhana.
Dhritrashtra invites the
Pandavas to Hastinapur
and proposes that the kingdom be divided. The
Pandavas are assigned
the wasteland Khandavprastha, referred to as unreclaimed desert. With
the help of Krishna,
Khandavprastha into the glorious
Indraprastha. The crown jewel of the kingdom was built at the Khandava
Draupadi resided in the "Palace of Illusions".
Yudhishthira performed the
Rajasuya Yagna with
Draupadi by his side;
Pandavas gained lordship over many regions. A lesser known
fact is Draupadi's role as an Empress. Trained in economy, she took
upon the responsibility of looking after the treasury of the Empire,
and also ran a citizen liaison. Her duties as a busy Empress are
mentioned in her famous conversation with Satyabhama, Krishna's
favourite wife, during their exile.
There is a popular story that is believed to be the reason why
Duryodhana hated Draupadi.
Duryodhana and his entourage were exploring
the keep during their visit to Yudhishthira's
Rajasuya Yagna. While
touring the grounds, an unsuspecting
Duryodhana fell prey to one of
the many illusions that could be seen all around the palace. When he
stepped on the apparently solid part of the courtyard, there was a
Duryodhana found himself waist deep in water, drenched from
head to foot by the hidden pool.
Draupadi and her maids saw this from
the balcony and were amused.
Duryodhana felt extremely insulted that
Draupadi and her maids saw his embarrassing predicament. Draupadi
joked Andhasya Putra Andhaha meaning 'a blind man's son is blind'.
This famous story does not feature in Veda Vyasa's Mahabharatha. The
story of 'blind man's son is blind' was the figment of imagination of
much later playwright. It gained immense popularity gradually, and was
repeatedly depicted in various adaptations of the epic across the
length and breadth of the country. The most popular depiction was by
B.R. Chopra in his masterpiece
Mahabharata series that aired on
Doordarshan in 1988. We find several references to blindness of the
characters by eminent playwright Dharmveer Bharti, in his famous play
'Andha Yuga'. The play was published in 1954-55, in Hindi weekly
In Vyasa's Sanskrit epic, the scene is quite different. It was
Bhima, Arjuna, and the twin brothers alongside their retinues who had
witnessed Duryodhana's fall and laughed with their servants. In the
Draupadi is not mentioned in the scene at all, either
laughing or insulting Duryodhana. Nonetheless,
insulted by the behavior of the four Pandavas, stoking his hatred of
them. Later on, he went back to Hastinapur, and expressed his immense
agony on witnessing the riches of the
Pandavas to his blind father,
which was the root cause for inviting his cousins for the dice-game.
His main wish was to usurp the wealth of his cousins which they had
accumulated on account of the
Rajasuya Yajna. Known to few, during
this conversation, Duryodhan mentions how he had observed Draupadi
serving food to everyone, including physically challenged citizens as
the Empress. He says to his father,"And, O king, Yajnaseni, without
having eaten herself, daily seeth whether everybody, including even
the deformed and the dwarfs, hath eaten or not."
He also expressed his wrath at having fallen into a pool of water, and
being laughed at mockingly, mainly by Bhima, followed by Arjun, Nakul,
Sahadeva and other menials in the palace. It is here, where he
fleetingly mentioned Draupadi's name, who accordingly to Duryodhan,
had "joined in the laughter with other females." Whether Duryodhana
was speaking an untruth or her name was a later addition into this
part of the text is debatable.
This laughter of Draupadi's was later on singled out and romanticized
by various poets and bards for years as a symbolic cause for the
dice-game, and eventually the war. In Vyasa's Sanskrit epic,
Draupadi's role in insulting
Duryodhana is trivial compared to the
exaggerated treatment it has received in popular adaptations. 
The game of dice
Draupadi & dushashan scene
Draupadi is presented in a parcheesi game where
gambled away all his material wealth.
This key incident is often considered to mark a definitive moment in
the story of Mahabharata. It is one of the driving reasons that
ultimately led to the Kurukshetra war.
Together with his maternal uncle Shakuni,
Duryodhana conspired to call
Hastinapur and win their kingdoms in a game of
gambling. There is a famous folklore that the plan's architect,
Shakuni had magic dice that would never disobey his will, as they were
made from the bones of Shakuni's father. This story however is
non-existent in the Sanskrit epic. As the game proceeds, Yudhishthira
loses everything at first. In the second round, Yudhishthira's brother
Nakula is stake, and
Yudhishthira loses him.
gambles away Sahdev,
Arjuna and Bheem. Finally,
himself at stake, and loses again. For Duryodhana, the humiliation of
Pandavas was not complete. He prods
Yudhishthira that he has not
lost everything yet;
Yudhishthira still has
Draupadi with him and if
he wishes he can win everything back by putting
Draupadi at stake.
Inebriated by the game, Yudhishthira, to the horror of everybody
Draupadi up as a bet for the next round. Playing the
Draupadi was horrified after hearing that
she was staked in the game and now is a slave for Duryodhana. Draupadi
questions Yudhishthira's right on her as he had lost himself first and
she was still the queen. Duryodhana, angry with Draupadi's questions,
commands his younger brother
Dushasana to bring her into the court,
forcefully if he must.
Draupadi and Bhima, as depicted in yakshagana.
Draupadi to the court by the hair. Seeing this, Bheem
pledges to remove Dushasana's hands, as they touched Draupadi's hair.
Now in an emotional appeal to the elders present in the forum,
Draupadi repeatedly questions the legality of the right of
Yudhishthira to place her at stake.
In order to provoke the
Duryodhana bares and pats
his thigh looking into Draupadi's eyes, implying that she should sit
on his thigh. In rage
Bhima vows in front of the entire assembly that
he would break that thigh of Duryodhana, or accept being Duryodhana's
slave for seven lifetimes. At this time Vikarna, a brother of
Duryodhana asks the kings assembled in the court to answer the
question of Draupadi. He gives his opinion that
Draupadi is not won
Yudhishthira lost himself first before staking her.
Besides, no one has right to put a woman on bet according to shastras;
not a husband, father, or even the gods. Hearing these words, Karna
gets angry and says that when
Yudhishthira lost all his possession he
also lost Draupadi, even specifically staking her.
Draupadi 'unchaste' for being the wedded wife of five men, adding that
dragging her to court is not surprising act whether she be attired or
naked. He orders
Dushasana to take away the rich garments of Pandavas
and Draupadi. Seeing her husbands' passivity,
Krishna to protect her. A miracle occurs henceforward, which is
popularly attributed to Krishna.
Dushasana unwraps layers and layers
of her sari. As her sari keeps getting extended, everyone looks upon
in awe, and
Dushasana himself is forced to stop due to exhaustion. At
this point, a furious
Bhima vows to drink the blood from his chest, at
the pain of not seeing his ancestors/entering heaven. This vow
unsettles the entire court.
Kauravas who object to the disrobing of
Draupadi in the court
Vikarna and Vidura.
Vidura openly calls
Duryodhana a snake and a
demon, but after finding no support even from his own brother, Vidura
Karna further orders
Dushasana to take
Draupadi to the
servants' quarters and derisively asks her to choose another husband
who unlike Yudhistira would not gamble her away. Just then, jackals
call out as a mark of evil omen. Queen mother Gandhari enters the
scene and counsels
Dhritarashtra to undo her sons' misdeeds. Fearing
Dhritarashtra intervenes and grants
Draupadi a boon.
Draupadi asks that her husband Yudisthir be freed from bondage so her
son Prativindhya would not be called a slave. In order to pacify her
Dhritarashtra offers a second boon. Calmly, she asks for the
freedom of the
Pandavas along with their weapons. When Dhritarashtra
asks her for her third wish, she reminds him that a kshatriya woman
can seek only two wishes,three would be a sign of greed.
Dhristarashtra gives them back their wealth, and grants them
permission to go home.
Amused by the sudden turn of events,
Karna remarks that they "have
never heard of such an act, performed by any of the women noted in
this world for their beauty." He taunts the
Pandavas by praising their
wife, as she had rescued them "like a boat from their ocean of
Having restored their pride and wealth, the
Pandavas and Draupadi
leave for Indraprastha, only to receive another invitation for a game
of dice, in which the loser would be given an exile of 12 years
followed by a year of Agnathavas, meaning "living in incognito".
Yudhishtira yet again accepts the invitation and loses,and goes on an
exile with his brothers and wife Draupadi.
Living in exile
Abduction by Jayadratha
Draupadi taken to forest by Simhika, who plans to kill her
Pandavas were in the
Kamyaka forest, they often went
Draupadi alone. At this time Jayadratha, the son of
Vriddhakshatra and the husband of Duryodhana's sister Dussala, passed
Kamyaka forest on the way to Salwa Desa.
Draupadi and then started beseeching her to go away with him and
desert her husbands.
Draupadi pointed out the immorality of deserting
one's spouses when they were in difficulty, and attempted to stall and
dissuade Jayadradtha by describing how the
Pandavas would punish him.
Failing with words,
Jayadratha forced her onto his chariot. Meanwhile,
Pandavas finished their hunt and found
Draupadi missing. Learning
of their wife's abduction by
Jayadratha they rushed to save her. On
Pandavas coming after him,
Draupadi on the
road, though ultimately the
Pandavas managed to arrest him.
Bhima to spare Jayadratha's life for the sake of
Dussala and Gandhari, much to the indignation of Draupadi. In some
versions of the story,
Draupadi to pass the sentence
since it was she who was attacked, and she begrudgingly counsels to
spare him because of the relations they share. Before freeing him, the
Pandavas shaved Jayadratha's head at five places in order to publicly
humiliate him.
Draupadi in Virata's palace, by Raja Ravi Varma
On the year they had to go into exile, the
Pandavas chose to stay in
One day Kichaka, and the commander of king Virata's forces, happened
to see the Draupadi. He was filled with lust by looking at her and
requested her hand in marriage.
Draupadi refused him, saying that she
was already married to Gandharvas. She warned
Kichaka that her
husbands were very strong and that he would not be able to escape
death at their hands. Later, he forced his sister, the queen Sudeshna,
to help him win Draupadi. Sudeshana ordered
Draupadi to fetch wine
from Kichaka's house, overriding Draupadi's protests. When Draupadi
went to get wine,
Kichaka tried to molest her.
Draupadi escaped and
runs into the court of Virata.
Kichaka kicked her in front of all the
courtiers, including Yudhishthira. Fearful of losing his most powerful
warrior, even Virat did not take any action.
Bhima is present, and
only a look from
Yudhishthira prevents him from attacking Kichaka.
Draupadi asked about the duties of a king and dharma.
Draupadi then cursed
Kichaka with death by her husband's hand.
Laughing it off,
Kichaka only doubted their whereabouts and asked
those present where are the Ghandaravas were.
Yudhishthira then told
Sairandhri to go to the temple, as
Kichaka would not do anything to
her there (in some versions, he recommends she seeks refuge with the
queen). With this, the king asked
Kichaka to leave and praised
Yudhishthira's reply as he himself could not think of anything.
Later that night,
Arjuna consoled Draupadi, and with Bhima, they
hatched a plan to kill Kichaka.
Draupadi meets with Kichaka,
pretending to actually love him and agreeing to marry him on the
condition that none of his friends or brothers would know about their
Kichaka accepted her condition.
Draupadi asked Kichaka
to come to the dancing hall at night. Bhima(in the guise of Draupadi),
Kichaka and kills him.
Death of Kichaka
During the war,
Draupadi stays at Ekachakra with other women. On the
Bhima kills Dushasana, drinking his blood and fulfilling his
There is a popular myth often depicted in well-known adaptations on
Mahabharata. It says,
Draupadi washed her hair with her brother-in-law
Dushasana's blood, as a mark of her vengeance against the molestation
she had suffered at the dice-game. Though an extremely powerful and
symbolic theme, this incident does not appear in Vyasa's Sanskrit
Alf Hiltebeitel in his acclaimed research work, "The Cult
of Draupadi" explores the source of this myth as he travels through
the rural areas of South India. He discovers that the first literary
mention of the blood-washing theme appeared in "Venisamhara"  or
"Braiding The Hair (of Draupadi)", a Sanskrit play written in the
Pallava period by eminent playwright Bhatta Narayana. Since then, this
powerful theme of vengeance had been used in most retellings and
adaptations on Mahabharat, thus mistakenly attributing the authorship
to Veda Vyasa.
Ashwathama, in order to avenge his father's as well as other Kuru
warriors' deceitful killing by the Pandavas, attacks their camp at
Kripacharya and Kritavarma.
Dhrishtadyumna, Shikhandi, Upapandavas, and the remaining
Panchala army. In the morning,
Yudhishthira hears the news and
Nakula to bring
that if the
Pandavas do not kill Ashwatthama, she would fast to
Ashwatthama at Vyasa's hut. Arjuna
Ashwatthama end up firing the
Brahmashirsha astra at each other.
Vyasa intervenes and asks the two warriors to withdraw the destructive
weapon. Not endowed with the knowledge to do so,
redirects the weapon to Uttara's womb, killing the Pandavas' only
Krishna curses him for this act.
Ashwathama is caught by the
Pandavas, and his jewel is taken away.
Draupadi gives the jewel to
Yudisthir and forgives the killer of her children. Due to the power of
meditation, her wrath is subdued and she lets go off Ashwathama, son
of their Preceptor Drone saying, "I desired to only pay off our debt
for the injury we have sustained. The preceptor's son is worthy of my
reverence as the preceptor himself. Let the king bind this gem on his
head, O Bharata!" 
Death and to heaven
Draupadi falls as the
When her husbands retired from the world and went on their journey
Himalayas and heaven, she accompanied them, and was the
first to fall on the journey. When
Draupadi had fallen,
Yudhishthira names Draupadi's partiality towards
Arjuna as the reason.
On the remaining journey, the rest of the
Pandavas all fall, with only
Yudhishthira surviving. Eventually, when Yudisthir goes to heaven, he
Draupadi sitting in meditation in the form Goddess Sri. He is
told, that the Goddess had taken birth in the form of
Draupadi to be
the wife of the Pandavas.
Draupadi had five sons, one son each from the
Pandava brothers. They
were known as Upapandavas. Their names were Prativindhya, Sutasoma,
Shrutakarma, Satanika, and Shrutasena.
Upapandavas during his surprise raid on
Pandava camp. According to
legends and folktales, She had a daughter called Suthanu as well, from
Yudhishthira. She was born when they were in exile and after
Kurukshetra War, she married Swarabhanu, Krishna-Satyabhama's son.
Polyandry, was not regarded without censure by the society spoken of
in the epic. The Indo-Aryan texts almost never mention or allow
polyandry, although polygamy was common among men of higher social
ranks. Her marriage to five men was controversial. However, when
Kunti to give an example of polyandry, Yudhishthira
cites Gautam-clan Jatila (married to seven Saptarishi) and
Hiranyaksha's sister Pracheti (married to ten brothers).
Draupadi as a Goddess and Deity
Draupadi Amman cult (or
Draupadi cult) is a tradition that binds
together a community of people in worshipping
Draupadi Amman as a
village goddess with unique rituals and mythologies. The cult believes
Draupadi is the incarnation of the goddess Kali.
Fire walking or
theemithi is a popular ritual enacted at
Draupadi Amman temples.
At the ancient religious festival of Bengalore named Karaga, Draupadi
is worshipped as an incarnation of Adishakti and Parvati in the nine
day event. 
Reclining Draupadi's head – near Auroville.
Draupati Amman idol in Udappu, Sri Lanka
There are over 400 temples dedicated to
Draupadi in the Indian states
of Andhra Pradesh, Tamil Nadu,
Karnataka and other countries like Sri
Lanka, Singapore, Malaysia, Mauritius, Réunion, South Africa. In
Draupadi is worshiped mainly by people of the
Vanniyar caste. There are a few processions and festivals which
are conducted for about 3 weeks a year. The most famous festival is in
the village Durgasamudram, Tirupati of Chittoor district.
In media and television
In B.R.Chopra's Mahabharat,
Draupadi was portrayed by Roopa Ganguly.
In the 2008 Television series, Kahaani Hamaaray Mahaabhaarat Ki,
Draupadi was enacted by Anita Hassanandani Reddy.
In 2013 Mahabharat TV Series,
Draupadi was played by Pooja Sharma.
Draupadi was portrayed by Kashmira Irani
Karna (2015 TV Series)
Draupadi was portrayed by
Draupadi (DD Kisan) Mitali Nag essays the role of
Village Boy Production and
The fiery heroine of
Mahabharata has been the topic of research and
debate for centuries. There are various award-winning plays and novels
attributed to her.
Pratibha Ray - This novel, originally written in Oriya
was the recipient of Jnanpith Award, the highest literary award in
India. It was also translated in various languages like English,
Hindi, Bengali, Tamil, Malayalam, etc.
The Palace of Illusions: A Novel by
Chitra Banerjee Divakaruni
Chitra Banerjee Divakaruni - This
novel is an award-winning international bestseller. Though deviated
much from the Sanskrit text, Divakaruni manages to bring up the
emotions of Draupadi, re-imagining the whole epic from her
The Cult of Draupadi by
Alf Hiltebeitel - This acclaimed trilogy
Mahabharata heroine is an exhaustive, scholarly account of the
various folk traditions surrounding
Draupadi in South India.
Hiltebeitel travels through various parts of India, tracing and
recording the lesser-known customs and tribes in Gingi Cult and much
more, who extensively worship
Draupadi as their deity - a status which
has been attained by few Mahabharat characters. There are over 31
plays and ballads that are conducted in over 400 temples, that are
Nathabati Anathbat by
Shaoli Mitra - This is a famous stage play 
depicting the agony of
Draupadi as a woman who "has five husbands, and
yet none to protect her."
Dropodi  by
Mahasweta Devi in Bengali - The recipient of Jnanpith
Sahitya Akademi Award
Sahitya Akademi Award and Padma Shri, the master storyteller
weaves a contemporary tale of oppression with
Draupadi as the lead
character, whose characteristics are derived from the fiery heroine.
Draupadi as an epitome of feminism
Mahabharata is one of the only examples that participated
in the practice of polyandry. She actively participated in her
husbands’ political affairs. When her husband Yudhishthira, put
her at stake in a game of dice, she questioned his act instead of
submitting to what he wanted. She also questioned the court as to why
was it that when
Yudhishthira had bet himself and lost the game, he
has the right to still bet against her. This showed that in a
predominant male society, she raised her voice. She argued and pleaded
to defend her honour several times. After the shameful incident of her
attempted disrobing, King had to apologise for his sons’ disorderly
conduct and offer her a boon. That’s when
Draupadi asked back for
her husbands’ titles and lands, and nothing for her own self.
During the Agyaata Vaas in King Virata’s kingdom,
disguised as one of the queen’s maids. Keechaka, the King’s
brother-in-law, tried to have his way with Draupadi, who turned to the
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