{{Short description|The heroine of the Hindu epic Mahabharata}}
{{Hatnote|"Panchali", "Sairandhri" and "Yajnaseni" redirect here. For other uses, see [[Draupadi (disambiguation)]], [[Panchali (disambiguation)]], [[Sairandhri (disambiguation)]] and [[Yajnaseni (disambiguation)]]}}
{{Use dmy dates|date=December 2015}}
{{Use Indian English|date=December 2015}}
{{Infobox deity
| type = Hindu
| member_of = [[Panchakanya]]
| alt = Panchali
| devanagari = द्रौपदी
| sanskrit_transliteration =
| other_names = Krishnaa, Yajnaseni, Panchali, Drupadkanya
| image = Raja Ravi Varma, Pleasing.jpg
| caption = [[Raja Ravi Varma]]'s painting of Draupadi.
| gender = Female
| parents ={{ubl|[[Drupada]] (father)|[[List of characters in Mahabharata#Prishati|Prishati]] (mother)}}
| siblings = {{ubl|[[Dhristadyumna]] (twin brother)|[[Shikhandi]] (sister turned brother)|[[Characters in Mahabharata#Satyajit|Satyajit]] (brother)}}
| spouse ={{ubl|[[Yudhishthira]]|[[Bhima]]|[[Arjuna]]|[[Nakula]]|[[Sahadeva]]}}
| children = {{ubl|[[Prativindhya]] (from Yudhishthira)|[[Shatanika]] (from Nakula)|[[Sutasoma (Mahabharata)|Sutasoma]] (from Bhima)|[[Shrutasena]] (from Sahadeva)| [[Shrutakarma]] (from Arjuna)}}
| affiliation = [[Panchakanya]], [[Devi]]
| texts = [[Mahabharata]], [[Puranas]]
| god_of =
| birth_place = [[Panchala]]
| death_place = [[Himalayas]]
}}

'''Draupadi''' ({{lang-sa|द्रौपदी|draupadī|Daughter of [[Drupada]]}}), also referred to as '''Krishnaa''', '''Panchali''' and '''Yajnaseni''', is the heroine of the [[Hindu epic]], ''[[Mahabharata]]''. She was the common wife of the five [[Pandava]] brothers—[[Yudhishthira]], [[Bhima]], [[Arjuna]], [[Nakula]] and [[Sahadeva]]. She is described to be the most beautiful woman of her time and was prophesied to bring the end of many warriors.

Draupadi and her brother, [[Dhrishtadyumna]], were born from a ''[[yajna]]'' (fire sacrifice) organized by King Drupada of Panchala. Arjuna won her hand in marriage, but she married the five brothers because of her [[Kunti|mother-in-law]]'s misunderstanding. After facing problems created by her [[polyandry]], she became the queen of [[Indraprastha]]. She had five sons, one from each Pandava, who were collectively addressed as the [[Upapandavas]]. Yudhishthira performed the [[Rajasuya]] ritual and achieved the status of the emperor. His jealous cousin [[Duryodhana]], the chief of [[Kaurava]] brothers, invited him to play a gambling game in [[Hastinapur]]a. After Yudhishthira lost Draupadi in the game, she was humiliated by the Kauravas, [[Shakuni]] and [[Karna]]. The Kaurava prince [[Dushasana]] tried to disrobe her but the divine intervention of the god [[Krishna]] saved her honour.

Later she and her husbands were sent in exile for 13 years with the last year being incognito. While spending the exile, many men including [[Jayadratha]] tried to harass her. For incognito, Draupadi disguised herself as a maid and served [[Sudeshna]], queen of Matsya. [[Kichaka]], the general of the kingdom, tried to molest her, but was killed by Bhima. After the [[Kurukshetra War]], her insults were avenged, but she lost her father, brothers and her five children. At the end of the epic, Pandavas and Draupadi retired to the Himalayas and walked to heaven. Because of her partiality towards Arjuna, Draupadi was the first one to fall on the way.

Draupadi's story has been an inspiration for various arts and performances. There are many books based on her life. In Hinduism, she is extolled as one of the ''[[panchakanya]]'' ("five virgins"), archetypes of female chastity whose names are believed to dispel sin when recited. In some parts of the sub-continent, a sect of Draupadi exists, where she is worshipped as a [[Draupadi Amman|goddess]].<ref>{{cite book|author=Alf Hiltebeitel|author-link=Alf Hiltebeitel|title=The cult of Draupadī: Mythologies : From Gingee to Kurukserta|date=1 January 1991|publisher=Motilal Banarsidass |isbn=978-81-208-1000-6|page=ii}}</ref>

== Etymology and epithets==
The word ''Draupadī'' ('daughter of Drupada') is a patronymic, derived from the word ''Drupada'', which means 'pillar'.{{sfn|Monier-Williams|1872|p=441}}{{sfn|Monier-Williams|1872|p=440}} Like other epic characters, she is referred to by multiple names in the ''Mahabharata''. Some of her other names and epithets are as follows:

* Krishnaa (''Kṛṣṇā'') – 'one who has a dark complexion'. It is the birth name of Draupadi.{{sfn|Bhattacharya|2004|p=20}}{{sfn|Monier-Williams|1872|p=250}}
* Panchali (''Pāñcālī'') – 'one from [[Panchala]]'.{{sfn|Gandhi|1993|p=294}}{{sfn|Monier-Williams|1872|p=561}}
* Yajnaseni (''Yajñasenī'') – 'daughter of Yajnasena' or 'one born from a [[Yajna|Yajña]] or sacrificial fire'. The former meaning is derived from Yajnasena ('he whose army is sacrificial'), another name of [[Drupada]]. {{sfn|Hiltebeitel|2011|p=490}}{{sfn|Bhattacharya|2004|p=20}}
* Drupadakanya (''Drupadakanyā'') – 'the daughter of Drupada'.
* Sairandhri (''Sairandhrī'') – 'an expert maid'. This pseudonym was assumed by Draupadi during her incognito life.{{sfn|Mani|1975|p=551}}
* Parshati (''Parṣatī'') – 'grand-daughter of Prishata', or 'daughter of [[Prishati]]'. Both Parshati and Prishati are derived from Prishata, Drupada's father.{{sfn|Karve|2006|p=81}}
* Nityayuvani (''Nityayuvanī'') – 'one who remains young forever and never becomes old'.
* Malini (''Mālinī'') – fragrant, one who makes garlands.{{sfn|Gandhi|1993|p=245}}
* Panchavallabha (''Pancavallabhā'') – 'Beloved of the five Pandavas'.{{sfn|Gandhi|1993|p=295}}
* Pandusharmila (''Pāṇḍuśarmilā'') – 'Daughter-in-law of [[Pandu]]'.{{sfn|Gandhi|1993|p=295}}

==Birth==
[[File:Vyasa telling Drupada about the previous lives of the Pandavas and Draupada.jpg|thumb|[[Vyasa]] telling Drupada about the previous lives of the Pandavas and Draupadi. The lady is goddess Sri (Draupadi), while the five other figures are the five Indra (the Pandavas).]]
Most [[Hindu texts]] state that Draupadi was not born of a woman and thus, she is often described as an ''ayonija'' (lit. 'one not born from a woman's womb').{{sfn|Bhattacharya|2004}}{{sfn|Chakrabarti|Bandyopadhyay|2017}} Her birth is narrated in the ''[[Adi Parva]]'' of the epic. [[Drona]]—the teacher of the [[the Kuru Kingdom|Kuru princes]]—defeats Drupada with the help of his students, and takes half of Panchala. Drupada seeks vengeance but realises that none of his children and allies is capable enough to slay Drona. As a result, he decides to perform a ''[[yajna]]'' (fire-sacrifice) to obtain a powerful son. With the sages Yaja and Upyaja serving as the head priests, the yajna is conducted. After completion, the priests instruct [[Prishati]]—the wife of Drupada—to consume the sacrifice offering, but she refuses and asks them to wait till she washed herself. Unable to wait, Yaja pours the offering into the altar of the sacrifice, from which a youth and a maiden emerge. The maiden's birth is followed by a divine prophecy, {{quote|“This dark-complexioned girl will be the first of all women, and she will be the cause of the destruction of many ''[[Kshatriyas]]''. This slender-waisted one will, in time, accomplish the purpose of the gods, and along with her many a danger will overtake the [[Kauravas]].”<ref name="C169">Ganguli 1889, [https://www.sacred-texts.com/hin/m01/m01170.htm Adi Parva: Chaitraratha Parva: Section CLXIX]</ref> }}
The youth and the maiden are named Dhrishtadyumna and Krishnaa, but the latter one is better known by the patronymic "Draupadi". They accept Drupada and Prishati as their parents and are raised in Drupada's palace.<ref name = "C169" />{{sfn|Karve|2006|p=81}}

Draupadi is described to be extremely beautiful. [[Vyasa]]—the author of the ''Mahabharata''—describes her having a dark complexion, lotus-like eyes, beautiful copper nails, dark curly hair and an enchanting fragrance like that of a blue lotus.<ref name="C169" />{{sfn|Bhattacharya|2004}}

==Marriage and children==
[[File: The Swayamvara of Panchala's princess, Draupadi.jpg|thumb|Arjuna wins Draupadi in her [[Swayamvara]]]]
[[File: The wedding of Draupadi.jpg|thumb|The wedding of Draupadi]]
[[Drupada]] intended to wed his daughter to [[Arjuna]]. Upon hearing of the [[Pandavas]]' [[Lakshagraha|supposed death at Varnavata]], he set up a [[Swayamvara]] contest for Draupadi to choose her husband from the competitive contest.<ref name=ryanjonesdraupadi>{{cite book | last1 =Jones | first1 =Constance | last2 =Ryan | first2 =James D. | year =2006 | title =Encyclopedia of Hinduism | publisher =Infobase Publishing | url =https://books.google.com/books?id=OgMmceadQ3gC |pages=136–137| isbn =9780816075645 }}</ref> The test was to lift and string a bow, and fire arrows to pierce the eye of a golden fish only by looking at its reflection in the water. At the Swayamvara, almost all the assorted monarchs were unable to complete the challenge. There are some variations regarding Karna's participation. Some renditions show Draupadi refusing to marry Karna on account of being a Suta, while some other versions describe him failing to string the bow by the "breadth of a hair".<ref name="archive.org">{{cite web|url=https://archive.org/details/mahabharatha015693mbp|title=THE MAHABHARATHA|last=VISHNU S. SUKTHANKAR|date=11 March 2018|publisher=BHANDARKAR ORIENTAL RESEARCH INSTITUTE, POONA|via=Internet Archive}}</ref><ref name="bori.ac.in">{{cite web|url=http://www.bori.ac.in/mahabharata_project.html|title=The Bhandarkar Oriental Research Institute : Mahabharata Project|website=www.bori.ac.in}}</ref><ref name="ReferenceA">{{cite web|url=https://archive.org/details/InterpolationsInTheMahabharata|title=Interpolations in the Mahabharata|last=M. A. Mehendale|date=1 January 2001|via=Internet Archive}}</ref>

In the end, [[Arjuna]] succeeds in the task, dressed as a [[Brahmin]]. The other attendees, including the Kauravas and Karna protest at a Brahmin winning the competition and attack Draupadi and Arjuna. [[Arjuna]] and [[Bhima]] together protect Draupadi by defeating all attendees and are able to retreat. Arjuna, along with Draupadi and his brothers, runs home to tell Kunti of his success, shouting "look what we have found". Kunti thought he was referring to [[alms]] found in the forest or to some great prize unknown to her. She tells Arjuna that the find must be shared with his brothers, as they had always shared such things in the past. This misunderstanding, combined with a motherly command, leads to an agreement that all five brothers marry her. This is one of the rare examples of [[polyandry]] in [[Sanskrit literature]].<ref name="williams">{{cite encyclopedia |title=Handbook of Hindu Mythology |article=Arjuna |first=George M. |last=Williams |publisher=Oxford University Press |year=2008 |page=61 |url=https://books.google.com/books?id=N7LOZfwCDpEC&pg=PA61|isbn=978-0-19533-261-2}}</ref><ref name="johnson-draupadi">{{cite encyclopedia|last=Johnson|first=W. J. |article=Draupadi |title=A Dictionary of Hinduism|publisher=Oxford University Press|year=2009|doi=10.1093/acref/9780198610250.001.0001|isbn=978-0-19861-025-0}}</ref> The brothers agreed that none should intrude if Draupadi was alone with one of the others, the penalty for doing so being a year to be spent in exile.<ref name="williams"/><ref name="johnson-arjuna">{{cite encyclopedia|last=Johnson|first=W. J. |article=Arjuna |title=A Dictionary of Hinduism|publisher=Oxford University Press|year=2009|doi=10.1093/acref/9780198610250.001.0001|isbn=978-0-19861-025-0}}</ref> A year was allotted to each Pandava and during that year only that Pandava could enter Draupadi's private chambers.

Later Draupadi becomes a mother of five sons, one son each from the Pandava brothers. They were known as [[Upapandavas]]. Their names were Prativindhya (from Yudhishthira), Sutasoma (from Bheema), Shrutakarma (from Arjuna), Satanika (from Nakula) and Shrutasena (from Sahadeva).<ref name="M Ganguly 1896"/> [[Ashwatthama]] killed the Upapandavas during his surprise raid on Pandava camp on the eighteenth day of the war to avenge the death of his father Drona.<ref>{{cite book|last=Das|first=Gurucharan|year=2010|title=The Difficulty of Being Good|url=https://books.google.com/books?id=77BoAgAAQBAJ&pg=PA219|publisher=Oxford University Press|isbn=978-0199754410}}</ref>

==Draupadi as the empress==
[[File:Draupadī Yajnaseni (daughter of Drupada).png|thumb| right|Draupadi was also called Yagnaseni for being born out of the fire]]

With the Pandavas' survival revealed, a succession crisis was started. Upon the news of Pandavas' death at Varnavrat, the title of 'the 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]], Pandavas rebuilt Khandavprastha into the glorious [[Indraprastha]]. The crown jewel of the kingdom was built at the [[Khandava]] forest, where Draupadi resided in the "Palace of Illusions".<ref>{{cite book|last1=Dalal|first1=Roshen|title=Hinduism: An Alphabetical Guide|date=2010|publisher=Penguin Books|page=166}}</ref> Yudhishthira performed the [[Rajasuya|Rajasuya Yagna]] with Draupadi by his side; the Pandavas gained lordship over many regions.<ref>{{cite book|last1=Parmeshwarananad|first1=Swami|title=Encylopaedic Dictionary of Puranas|date=2001|publisher=Sarup and Sons|location=New Delhi|page=524}}</ref>

A lesser-known fact is Draupadi's role as an Empress. Trained in the 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.<ref>{{cite web | url=http://www.sacred-texts.com/hin/m03/m03231.htm | title=Vana Parva|publisher=Sacred-texts.com | access-date=10 November 2017}}</ref>{{sfn|Bhattacharya|2004}}

===Duryodhana's insult===
There is a popular myth 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 splash and Duryodhana found himself waist-deep in water, drenched from head to foot by the hidden pool. The myth is, Draupadi and her maids saw this from the balcony with amusement, and joked ''Andhasya Putra Andhaha'' meaning 'a [[blindness|blind]] man's son is blind'. This famous story does not feature in Veda Vyasa's [[Mahabharatha]] but is the figment of the imagination of a much later playwright. It gained immense popularity gradually through repeated depictions in various screen and written adaptations of the epic across the length and breadth of the country. The most popular depictions were by [[B.R. Chopra]]'s ''Mahabharata'' series that aired on Doordarshan in 1988 and famous Telugu film '[[Daana Veera Soora Karna]]' starring [[Nandamuri Taraka Rama Rao]] as Duryodhana, where Draupadi's laughter was singled out for dramatic effect.<ref>{{Cite web|date=2020-05-19|title=Did Draupadi Insult Duryodhana during Rajasuya, Karna in Swayamvara?|url=https://www.myindiamyglory.com/2020/05/19/did-draupadi-insult-duryodhana-during-rajasuya-karna-in-swayamvara/|access-date=2020-09-09|website=myIndiamyGlory|language=en-GB}}</ref>

In Vyasa's Sanskrit epic, the scene is quite different.<ref name="Draupadi insulting Duryodhana">{{cite web | url=http://www.sacred-texts.com/hin/m02/m02046.htm | title=Sabha parva|publisher=Sacred-texts.com | access-date=13 July 2015}}</ref> It was [[Bhima]], [[Arjuna]], and the twin brothers alongside their retinues who had witnessed Duryodhana's fall and laughed along with their servants. In the Sanskrit text, Draupadi is not mentioned in the scene at all, either laughing or insulting Duryodhana. Nonetheless, Duryodhana felt insulted by the behaviour 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."''<ref name="Draupadi insulting Duryodhana1">{{cite web | url=http://sacred-texts.com/hin/m02/m02051.htm | title=Sabha parva|publisher=Sacred-texts.com | access-date=10 November 2017}}</ref>

He then went on to express 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.

Draupadi's laughter went on to be singled out and romanticized by writers for centuries as a cause for the dice-game, and the war. In Vyasa's Sanskrit epic, however, her role in the scene is trivial compared to the exaggerated treatment it has received in popular adaptations.
<ref name="Draupadi insulting Duryodhana" />

==Game of dice and humiliation==
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 on the [[Pandavas]] to [[Hastinapur]] and win their kingdoms in a [[Pachisi|game of gambling]]. There is 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 at stake, and Yudhishthira loses him. Yudhisthira subsequently gambles away [[Sahadeva]], [[Arjuna]] and [[Bhima]]. Finally, [[Yudhishthira]] puts himself at stake, and loses again. For [[Duryodhana]], the humiliation of the 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 present, puts Draupadi up as a bet for the next round. Playing the next round, [[Shakuni]] wins. 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.<ref>{{cite book |url= https://books.google.com/books?id=isYVDAAAQBAJ&pg=PA97 |title= Disorienting Dharma: Ethics and the Aesthetics of Suffering in the Mahabharata |first=Emily |last=Hudson|year=2012|isbn=978-0199860784|publisher=Oxford University Press}}</ref><ref>{{cite web|url=http://www.sacred-texts.com/hin/m02/m02066.htm |title=The Mahabharata, Book 2: Sabha Parva: Shishupala-badha Parva: Section LXVI |publisher=Sacred-texts.com |access-date=2013-10-20}}</ref>
[[File: Draupadi dragged from her chamber.jpg|thumb|Dushasana drags Draupadi to the court by her hair.|alt=|left]]
Dushasana drags Draupadi to the court by the hair. Seeing this, Bhima pledges to cut off 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.<ref>{{Cite book|last1=Williams|first1=Oliver F.|url=https://books.google.com/books?id=xkdZTK4zSm4C&q=Draupadi+repeatedly+questions+the+legality+of+the+right+of+Yudhishthira+to+place+her+at+stake.&pg=PA103|title=A Virtuous Life in Business: Stories of Courage and Integrity in the Corporate World|last2=Houck|first2=John W.|date=1992|publisher=Rowman & Littlefield|isbn=978-0-8476-7747-4|language=en}}</ref><ref>{{Cite book|last=Uppal|first=Nishant|url=https://books.google.com/books?id=E_V5DwAAQBAJ&q=Draupadi+repeatedly+questions+the+legality+of+the+right+of+Yudhishthira+to+place+her+at+stake.&pg=PT147|title=Duryodhanization: Are Villains Born, Made, or Made Up?|date=2018-11-29|publisher=Penguin Random House India Private Limited|isbn=978-93-5305-369-7|language=en}}</ref>

In order to provoke the Pandavas further, Duryodhana bares and pats his thigh looking into Draupadi's eyes, implying that she should sit on his thigh. The enraged [[Bhima]] vows in front of the entire assembly that he would break Duryodhana's thighs, or else 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 rightfully as [[Yudhishthira]] lost himself first before staking her. Besides, no one has the 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.<ref>{{cite web|last1=Pattanaik|first1=Devdutt|title=The Clothes of Draupadi|url=http://devdutt.com/articles/mahabharata/the-clothes-of-draupadi.html|website=Devdutt|access-date=20 February 2015}}</ref> Karna calls Draupadi a "whore" for being the wedded wife of five men, adding that dragging her to court is not surprising act whether she be attired or naked.{{sfn|Chakravarti|2007}} He orders Dushasana to remove the garments of Draupadi.<ref>{{cite book |url= https://books.google.com/books?id=isYVDAAAQBAJ&pg=PA98 |title= Disorienting Dharma: Ethics and the Aesthetics of Suffering in the Mahabharata |first=Emily |last=Hudson|year=2012|isbn=978-0199860784|publisher=Oxford University Press}}</ref><ref>{{cite web|url=http://www.sacred-texts.com/hin/m02/m02067.htm |title=The Mahabharata, Book 2: Sabha Parva: Shishupala-badha Parva: Section LXVII |publisher=Sacred-texts.com |access-date=2015-07-24}}</ref> After her husbands fail to assist her, Draupadi prays to [[Krishna]] to protect her. [[Dushasana]] attempts to disrobe her, but she is miraculously protected by Krishna, and Dushasana finds that as he continues to unwrap the layers of her [[sari]], the amount of fabric covering her never lessens. Dushasana is eventually reduced to exhaustion, as the awed court observes that Draupadi is still chastely dressed. At this point, a furious Bhima vows to drink blood from Dushasana's chest, at the pain of not seeing his ancestors/entering heaven. This vow unsettles the entire court.
[[File: Draupadi & dushashan scene.jpg|alt=|thumb|250x250px|Although Krishna was not present in the court, he saved Draupadi using his divine powers.]]

The only [[Kauravas]] who object to the disrobing of Draupadi in the court are Vikarna and Yuyutsu. [[Vidura]] openly calls Duryodhana a snake and demon after finding no support even from his own brother, Vidura is helpless. Karna further orders Dushasana to take Draupadi to the servants' quarters and derisively asks her to choose another husband who unlike Yudhishthira would not gamble her away. Just then, jackals call out as a mark of evil omen. Queen [[Gandhari (character)|Gandhari]] enters the scene and counsels Dhritarashtra to undo her sons' misdeeds. Fearing the ill-omens, Dhritarashtra intervenes and grants Draupadi a boon. Draupadi asks that her husband Yudishthira be freed from bondage so her son Prativindhya would not be called a slave. In order to pacify her further, 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. Dhritarashtra gives them back their wealth and grants them permission to go home.<ref>{{cite web|url=https://archive.org/stream/mahabharata_nk/mahabharata_nilakanthas_commentary#page/n403/mode/2up |title=Mahabharata with the Commentary of Nilakantha |access-date=2015-07-24}}</ref>

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 distress".<ref>{{cite web|url=http://www.sacred-texts.com/hin/m02/m02071.htm |title=The Mahabharata, Book 2: Sabha Parva: Shishupala-badha Parva: Section LXVII |publisher=Sacred-texts.com |access-date=2017-11-10}}</ref>

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 Agyatavasa, meaning "living in incognito". Yudhishtira yet again accepts the invitation and loses, and goes on an exile with his brothers and wife Draupadi.<ref name="johnson-mahab">{{cite encyclopedia|last=Johnson|first=W. J. |article=Mahabharata |title=A Dictionary of Hinduism|publisher=Oxford University Press|year=2009|doi=10.1093/acref/9780198610250.001.0001|isbn=978-0-19861-025-0}}</ref>

==Living in exile==
===Durvasa's visit===
[[File: One of Srikrishna's Miracles.jpg|thumb|Sri Krishna saves Draupadi from the wrath of sage Durvasa|left]]
Once, Draupadi and the Pandavas had finished eating their meal cooked from the [[Akshaya Patra|Akshay Patra]]. Suddenly, sage [[Durvasa]] and his pupils visited them. They were sent by [[Duryodhana]] as he wanted the sage to curse the Pandavas. The brothers welcomed the sage along with his pupils and offered them service. Durvasa demanded food to eat as he was hungry. However, Draupadi had nothing left to feed the guests. Frightened that the sage would curse them, Draupadi prayed to god. Krishna then came there and asked her to give him the vessel. Draupadi gave the vessel to Krishna and he ate a single grain of rice left in it. The sage and his pupils suddenly felt that they had eaten a grand feast and left the place with satisfaction. Though a very popular tale, the "Critical Edition" doesn't include this incident.<ref name="ReferenceA" /><ref>http://www.bhagavatam-katha.com/mahabharata-story-durvasa-muni-svisit-to-pandavas-in-the-forest/</ref><ref>https://lightofgodhead.com/logstaging/durvasa-muni-visits-the-pandavas//</ref>

===Abduction by Jayadratha===
[[File: Jaydrath abduct Draupadi.jpg|thumb|Jayadratha tries to kidnap Draupadi]]
While the [[Pandavas]] was in the [[Kamyaka]] forest, they often went hunting, leaving Draupadi alone. At this time [[Jayadratha]], the son of Vriddhakshatra and the husband of Duryodhana's sister [[Dussala]], passed through [[Kamyaka]] forest on the way to [[Salwa Kingdom|Salva]] Desa. Jayadratha met Draupadi and then started beseeching her to go away with him and desert her husband. 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, the Pandavas finished their hunt and found Draupadi missing. Learning of their wife's abduction by Jayadratha they rushed to save her. On seeing the Pandavas coming after him, Jayadratha left Draupadi on the road, though ultimately the Pandavas managed to arrest him. Arjuna urged Bhima to spare Jayadratha's life for the sake of Dussala and [[Gandhari (character)|Gandhari]], much to the indignation of Draupadi. In some versions of the story, Yudhishthira asks 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.<ref>https://www.indianmirror.com/history/mahabharatha/abduction-of-draupadi.html</ref>

===Agyatvās (Incognito)===
[[File:Draupadi humiliated RRV.jpg|thumb|left|Draupadi in Virata's palace, by Raja Ravi Varma]]
On the year they had to go into exile, the Pandavas chose to stay in the [[Matsya Kingdom]]. Draupadi became the maid of [[Sudeshna]], queen of Matsya, and served her.
One day [[Kichaka]], Sudeshna's brother and the [[commander-in-chief|commander]] of king [[Virata]]'s forces, happened to see 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 [[Gandharva]]s. 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. Sudeshna ordered Draupadi to fetch wine from Kichaka's house, overriding Draupadi's protests. When Draupadi went to get wine, Kichaka tried to molest her. {{sfn|Chakravarti|2007}}

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. Furious, 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 the [[Gandharvas]] was. 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 relationship. Kichaka accepted her condition. Draupadi asked Kichaka to come to the dancing hall at night. Bhima (in the guise of Draupadi), fights with Kichaka and kills him. {{sfn|Chakravarti|2007}}

{{Multiple image
| align =
| direction =
| total_width = 350
| image1 = Bhimasena and Draupadi.jpg
| alt1 =
| footnote =
| image2 = Death ok Kickaka.jpg
| caption1 =
| caption2 =
| footer = Bhima kills Kichaka after consoling Draupadi.
}}
Draupadi called the members of Kichaka's family and showed them the mutilated body of Kichaka. The murder was attributed to her Gandharva husbands. This angered Kichaka's brothers and they decided to burn her along with Kichaka's body to take revenge. After getting permission from Virata, Draupadi was forcefully tried to Kichaka's pyre. Upon her pleading, Bhima ran for her help and killed the brothers of Kichaka, thus saving her from being burnt alive.<ref>{{Cite book|last=Kulkarni|first=Shripad Dattatraya|url=https://books.google.com/books?id=yQJkAAAAMAAJ&q=kichaka+burnt|title=The Epics Ramayana and Mahabharata|date=1992|publisher=Shri Bhagavan Vedavyasa Itihasa Samsodhana Mandira (Bhishma)|isbn=978-81-900113-6-5|language=en}}</ref>

== Kurukshetra War ==
During the war, Draupadi stays at Ekachakra with other women. On the 16th day, [[Bhima]] kills [[Dushasana]], drinking his blood and fulfilling his oath.

There is a popular myth often depicted in well-known adaptations of Mahabharata. It says that 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 Mahabharata.
[[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 India. He discovers that the first literary mention of the blood-washing theme appeared in "Venisamhara"
<ref>{{cite web|url=https://archive.org/details/in.ernet.dli.2015.486171|title=The Venisamhara of Bhatta Narayana|first=Bombay|last=Portessor of Sanskrit Elphinstone College|date=11 March 2018|via=Internet Archive}}</ref> 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.

===Ashwatthama's attack===
[[Ashwathama]], in order to avenge his father's as well as other [[Kuru Kingdom|Kuru]] warriors' deceitful killing by the [[Pandavas]], attacks their camp at night with [[Kripacharya]] and [[Kritavarma]]. [[Ashwathama]] killed [[Dhrishtadyumna]], [[Shikhandi]], [[Upapandavas]], and the remaining Pandava and Panchala army.<ref name="M Ganguly 1896">K M Ganguly(1883–1896). [http://sacred-texts.com/hin/m10/m10009.htm The Mahabharatha Book 10: Sauptika Parva section 9] Ashwatthama killing Dhrishtadyumna, October 2003, Retrieved 2015-04-17</ref> In the morning, [[Yudhishthira]] hears the news and asks [[Nakula]] to bring Draupadi from [[Matsya Kingdom]].<ref>K M Ganguly(1883–1896). [http://sacred-texts.com/hin/m10/m10010.htm.htm The Mahabharatha Book 10: Sauptika Parva section 10]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }} Yudhishthira crying over the death of Upapandavas, October 2003, Retrieved 2015-04-17</ref> Draupadi vows that if the Pandavas do not kill Ashwatthama, she would fast to death.<ref name="mb">{{cite web|url=http://www.sacred-texts.com/hin/m10/m10011.htm |title=The Mahabharata, Book 10: Sauptika Parva: Section 11 |publisher=Sacred-texts.com |access-date=2015-07-24}}</ref><ref>{{cite web | url=http://www.sacred-texts.com/hin/m08/m08088.htm | title=Asvathama and Kripa are born immortals and unslayable by any kind of weapons | access-date=28 June 2015}}</ref> The Pandavas find Ashwatthama at [[Vyasa]]'s hut. [[Arjuna]] and 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, Ashwatthama instead redirects the weapon to [[Uttarā (Mahabharata)|Uttara's]] womb, but [[Krishna]] protected the Pandavas' only heir with his Sudarshana Chakra. Krishna curses him for this act. Ashwatthama is caught by the Pandavas and his jewel is taken away.<ref name="mb"/> Draupadi gives the jewel to [[Yudhishthira]] and forgives the killer of her children. Due to the power of meditation, her wrath is subdued and she lets go of Ashwathama, son of their preceptor Drona 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!"''<ref>K M Ganguly(1883–1896). [http://www.sacred-texts.com/hin/m10/m10016.htm The Mahabharatha Book 10: Sauptika Parva section 16] Draupadi forgiving Ashwathama, October 2003, Retrieved 2017-11-10</ref>

==Later life and death==
[[File: Death of Draupadi - Illustrations from the Barddhaman edition of Mahabharata.jpg|thumb|Draupadi falls dead as the Pandavas proceed to heaven.]]

Draupadi and Yudhishthira performed the [[Ashvamedha]] and ruled for 36 years. When her husbands retired from the world and went on their journey towards the [[Himalayas]] and heaven, she accompanied them and was the first to fall dead on the journey. When [[Bhima]] asked [[Yudhishthira]] why Draupadi had fallen, Yudhishthira replied,

"''O best of men, though we were all equal unto her she had a great partiality for [[Dhananjaya]]. She obtains the fruit of that conduct today, O best of men.''"<ref>http://www.sacred-texts.com/hin/m17/m17002.htm</ref><ref>{{cite book |url= https://books.google.com/books?id=isYVDAAAQBAJ&pg=PA207 |title= Disorienting Dharma: Ethics and the Aesthetics of Suffering in the Mahabharata |first=Emily |last=Hudson|year=2012|isbn=978-0199860784|publisher=Oxford University Press}}</ref>

== Polyandry ==
[[Image:2716 PandavaDraupadifk.jpg.jpg|thumb|left|250px|Draupadi (far-right) with her five husbands - the [[Pandavas]]. The central figure is [[Yudhishthira]]; the two to his left are [[Bhima]] and [[Arjuna]] . [[Nakula]] and [[Sahadeva]], the twins, are to his right. [[Deogarh, Uttar Pradesh|Deogarh]], Dasavatar temple.]]
[[Polyandry]], was not regarded without censure by the society spoken of in the epic. The Vedic texts have not discriminated between polyandry and polygamy but usually, the women of royal families were allowed to indulge in polyandry for expansion of progeny, although [[polygyny]] was more common among men of higher social ranks. Her marriage to five men was controversial for political reasons as that was an advantage for Prince Duryodhana to get the throne of Bharat Varsha. However, when questioned by [[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).<ref>{{cite web|title=The Mahabharata, Book 1: Adi Parva: Vaivahika Parva: Section CLXLVIII|url=http://www.sacred-texts.com/hin/m01/m01199.htm|access-date=2013-10-20|publisher=Sacred-texts.com}}</ref>

There are many women of high born classes or royal class like Princess Mādhavi who had 4 husbands, the only daughter of King [[Yayati]]. Polyandry was in the royal class but under the strict guidance of the Vedic sages exactly like polygamous marriages of ancient Indian kings were under strict supervision and guidance of the Vedic laws and Vedic sages.<ref>{{cite book|author=Sarva Daman Singh|title=Polyandry in Ancient India|date=1 January 1988|publisher=Motilal Banarsidass |isbn=978-8120804876}}</ref><ref>{{Cite book|last=Singh|first=Sarva Daman|url=https://books.google.com/books?id=limC6vCMYnMC&q=india+and+polyandry|title=Polyandry in Ancient India|date=1988|publisher=Motilal Banarsidass Publ.|isbn=978-81-208-0487-6|language=en}}</ref>

==Draupadi as a goddess==

In Sanskrit Mahābhārata, Draupadi is described as the incarnation of different goddesses.<ref>{{cite encyclopedia |article=Draupadi |title=The Concise Oxford Dictionary of World Religions |first=John |last=Bowker |year=2000 |isbn=978-0-19172-722-1 |doi=10.1093/acref/9780192800947.001.0001|publisher=Oxford University Press}}</ref> In Sambhava section of Adi Parva, she is said to be partial incarnation of Goddess [[Shachi]] (or Sachi).<ref name = "Draupadi as Sachi">{{cite web|url=https://www.sacred-texts.com/hin/m01/m01068.htm | title=Adi parva|publisher=Sacred-texts.com | access-date=13 July 2015}}</ref> However, in Vaivahika section of Adi Parva<ref name = "Draupadi as Sri">{{cite web|
url=https://www.sacred-texts.com/hin/m01/m01200.htm | title=Adi parva|publisher=Sacred-texts.com | access-date=13 July 2015}}
</ref> Vyasa describes her as the celestial [[Lakshmi|Sri]]. In Svargarohanika Parva, Yudhisthira goes to heaven and sees Draupadi seated as Goddess Sri (Or Sree).<ref name = "Draupadi as Goddess Sri">{{cite web|url=https://www.sacred-texts.com/hin/m18/m18004.htm| title=Svargarohanika parva|publisher=Sacred-texts.com | access-date=13 July 2015}}</ref>

In living traditions, however, Draupadi is seen more often as an incarnation of Adi Shakti and Goddess Kali. The [[Draupadi Amman]] sect (or Draupadi devotional sect) is a tradition that binds together a community of people in worshipping Draupadi Amman as a [[Village deities of Tamil Nadu|village goddess]] with unique rituals and mythologies. The sect believes that Draupadi is the incarnation of goddess Kali. [[Fire walking]] or [[Thimithi]] is a popular ritual enacted at Draupadi Amman temples.<ref name="Hiltebeitel">{{cite book|last=Hiltebeitel|first=Alf|author-link=Alf Hiltebeitel|title=The Cult of Draupadi Mythologies:From Gingee To Kuruksetra|publisher=Motilal Banarsidass |year=1991|volume=1|isbn=978-81-208-1000-6}}</ref> At the ancient religious festival of [[Bengaluru Pete]] named [[Bangalore Karaga]], Draupadi is worshipped as an incarnation of [[Adishakti]] and [[Parvati]] in the nine-day event.<ref>{{cite web|url=http://www.deccanherald.com/content/154465/city-feel-karaga-fervour-tonight.html|title=City to feel Karaga fervour tonight|website=Deccan Herald}} - {{cite web|url=http://www.karaga.com/ |title= Adishakti Draupadi's Karaga Shakthiotsava|access-date=2018-01-18}}</ref>
{| class="wikitable"
|-
[[File: Reclining Draupadi, wife of the 5 Pandavs. Near Auroville2.jpg|thumb|left|Reclining Draupadi's head – near [[Auroville]].]]
[[File:Draupati Amman idol in Udappu.jpg|thumb|right|Draupadi 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]].<ref name="Hiltebeitel"/> In these regions, Draupadi is worshipped mainly by people of the [[Vanniyar]] caste and Mutaliyars.<ref>{{cite news|last1=Madhusudhan|first1=N.R.|title=Ancient tradition comes alive|url=http://www.newindianexpress.com/states/karnataka/article382309.ece?service=print|publisher=New Indian Express|date=2012}}</ref><ref>{{cite book|title= The Cult of Draupadi, Volume 2 |first= Alf |last=Hiltebeitel|publisher= University of Chicago |year=1998 |page=23,107 |url=https://www.google.com/books/edition/The_Cult_of_Draupadi_Volume_2/diPh4qYtjPUC?hl=en&gbpv=1&bsq=mutaliyar}}</ref>

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.<ref>{{cite web|title=Drowpathi Sametha Dharmaraja Swamy Temple|url=http://tirupati.desibantu.com/drowpathi-sametha-dharmaraja-swamy-temple|work=Desibantu|access-date=13 June 2013}}</ref>

==In other traditions==
In [[Digambara]] Jain scriptures like ''[[Harivamsa Purana]]'', polyandry of Draupadi has been rejected and it is suggested that she was married only to Arjuna. [[Hemachandra]], a [[Svetambara]] Jain monk, accepts the polyandry in his work ''Triṣaṣṭi'' and further suggests that Draupadi was Nagasri in one of her previous lives and had poisoned a Jain monk. Therefore, she had to suffer in hell and animal incarnations for several lives before being born a woman who later became a Jain nun. After her death, she was reborn as Draupadi and was married to five Pandavas.{{sfn|Doniger|1993|p=241}}

==In popular culture==
===In folktales===
* According to a folklore, Draupadi introduced popular Indian snack [[Pani Puri]].<ref>{{Cite web|date=23 December 2019|title=Pani Puri & its connection to Five Pandavas & their wife Draupadi, know its history|url=https://m.republicworld.com/lifestyle/food/history-of-donuts.html|access-date=2020-07-08|website=Republic World|language=en}}</ref>
*Draupadi had only five sons in the original epic. But, according to some folklores, the Pandavas and Draupadi had six daughters. Based on several folklores, the names of their daughters are listed below:
***Suthanu (from [[Yudhishthira]])
***Samyukthana (from [[Bheema]])
***Pragati and Pragya/Prathigya (twins) (from [[Arjuna]])
***Printha (from [[Nakula]])
***Sumithra (from [[Sahadeva]]).<ref>https://www.dollsofindia.com/library/arjuna-sons/</ref><ref>https://hinduism.stackexchange.com/questions/2333/can-anyone-explain-the-family-tree-of-pandavas</ref>
**Some texts say that Suthanu married [[Krishna]] and [[Satyabhama]]'s eldest son Bhanu. Further, some more texts mention that Pragati later married a sage from [[Panchala]].

===Arts and dances===
The story of Draupadi is one of the central topics of '''[[Yakshagana]]''', a traditional dance-play in Southern India and '''[[Terukkuttu]]''', a [[Tamil language|Tamil]] [[street theatre]] form practised in [[Tamil Nadu]] state of [[India]] and Tamil-speaking regions of [[Sri Lanka]].<ref>{{cite book
| last = Sarachchandra
| first = Ediriweera R.
| title = The Folk Drama of Ceylon
| publisher = Department of Cultural Affairs, Ceylon
| location = Colombo
| oclc = 63859810
| pages = 116
| year = 1966
}}</ref><ref name="MLVardapande_history">{{cite book
| last = Varadpande
| first = Manohar Laxman
| title = History of Indian Theatre
| publisher = Abhinav Publications
| orig-year = 1987
| year = 1990
| isbn = 978-81-7017-278-9
| oclc = 18270064
| pages = 39–44
}}</ref><ref>{{cite book
| last = Srinivas
| first = Smriti
| title = Landscapes of Urban Memory
| publisher = Orient Longman
| orig-year = 2001
| year = 2004
| isbn = 81-250-2254-6
| oclc = 46353272
| pages = 23
}}</ref>
[[File:Yakshagana bhima.JPG|right|thumb|''Draupadi and Bhima'' depicted by actors in ''[[yakshagana]]'' theatre.]]

=== Television and film ===
*In [[R. Nataraja Mudaliar]]'s silent film ''[[Keechaka Vadham]]'' (1917), the first film from South India, Draupadi was portrayed by Jeevarathnam.
*In [[Baburao Painter]]'s silent film [[Sairandhri (1920 film)|''Sairandhri'']], Draupadi was portrayed by Kamaladevi.
*In Bhagwati Prasad Mishra's Hindi film ''[[Draupadi (1931 film)|Draupadi]]'' (1931), Draupadi was portrayed by Ermeline.<ref>{{Cite web|title=Draupadi (1931)|url=https://www.filmaffinity.com/ca/film649599.html|website=Filmaffinity|language=en|access-date=3 April 2020}}</ref>
*In [[V. Shantaram]]'s Hindi/Marathi film [[Sairandhri (1933 film)|''Sairandhri'']], Draupadi was portrayed by Leela.
* In Chandrakanta Gor's [[Hindi language|Hindi]] film ''Veer Bhimsen'' (1964) Draupadi was portrayed by [[Sumitra Devi (actress)|Sumitra Devi]].<ref>{{Cite web|title=Veer Bhimsen (1964)|url=https://www.youtube.com/watch?v=f8fYfaCeLbY|website=www.youtube.com|access-date=7 March 2020}}</ref>
* In [[Babubhai Mistry]]'s ''[[Mahabharat (1965 film)|Mahabharat]]'' (1965) Draupadi was portrayed by [[Padmini (actress)|Padmini]].<ref>{{Cite web|url=https://www.youtube.com/watch?v=qK0djoU7CC8|title=Mahabharat (1965)|website=www.youtube.com|access-date=7 March 2020}}</ref>
* In [[Babubhai Mistry]]'s Gujrati film ''Sampoorn Mahabharat'' (1983), Draupadi was portrayed by Snehalata.<ref>{{Cite web|url=https://www.youtube.com/watch?v=TcpxM9D1BTI|title=Sampoorn Mahabharat|website=YouTube|access-date=2 April 2020}}</ref>
* In [[Baldev Raj Chopra|B. R. Chopra]]'s ''[[Mahabharat (1988 TV series)|Mahabharat]]'' (1988) and ''[[Mahabharat Katha]]'' (1997) Draupadi was portrayed by [[Roopa Ganguly]].<ref>{{Cite web|url=https://www.hindustantimes.com/tv/actors-talk-about-what-went-into-making-mahabharat-in-1988/story-W5i1GX9wqpY25Pijoa1NaI.html|title=Actors talk about what went into making Mahabharat in 1988|date=2016-05-05|website=www.hindustantimes.com|language=en|access-date=2019-05-12}}</ref><ref name=":0">{{Cite web|url=https://caravanmagazine.in/reviews-and-essays/show-shows|title=Why a quarter century after it went on air BR Chopra's Mahabharat remains Indian television's most remarkable show|website=The Caravan|language=en|access-date=7 March 2020}}</ref>
* In [[Peter Brook]]'s ''[[The Mahabharata (1989 film)|The Mahabharata]]'' (1989) Draupadi was portrayed by [[Mallika Sarabhai]].
*In [[G. V. Iyer]]'s Sanskrit film ''[[Bhagvad Gita (film)|Bhagvad Gita]]'' (1993), Draupadi was portrayed by [[Neena Gupta]].
*In [[Ramanand Sagar]]'s Hindi TV series ''[[Krishna (TV series)|Shri Krishna]]'' (1993), Draupadi was portrayed by Phalguni Parikh.
* In the Bengali TV series ''Draupadi'' (1999) broadcast on [[DD Bangla]], Draupadi was portrayed by [[Roopa Ganguly]].<ref name=":0" />
*In the Hindi TV series [[Draupadi (2001 TV series)|''Draupadi'']] (2001), [[Mrinal Kulkarni]] was portrayed Draupadi.
* In the TV series, ''[[Kahaani Hamaaray Mahaabhaarat Ki]]'' (2008)''.'' Draupadi was portrayed by [[Anita Hassanandani]].
*In [[Prakash Jha]]'s Hindi Film ''[[Raajneeti]]'' (2010), [[Katrina Kaif]]'s character was loosely inspired by Draupadi.<ref>{{Cite web|title=Katrina Kaif is playing Draupadi: Prakash Jha|url=http://www.santabanta.com/bollywood/37014/katrina-kaif-is-playing-draupadi-prakash-jha/|access-date=2020-06-15|website=www.santabanta.com|language=en}}</ref>
* In [[Dharmesh Tiwari]]'s ''[[Mahabharat Aur Barbareek]]'' (2013) Draupadi was portrayed by [[Roopa Ganguly]].<ref>{{Cite web|url=https://www.youtube.com/watch?v=eQmmh2c_0Hs&t=5156s|title=Mahabharat aur Barbareek (2013)|website=www.youtube.com|access-date=7 March 2020}}</ref>
* [[Pooja Sharma (Indian actress)|Pooja Sharma]] portrayed Draupadi in [[StarPlus|Star Plus]]'s successful series, ''[[Mahabharat (2013 TV series)|Mahabharat]]'' (2013). Her performance was greatly appreciated by fans.<ref>{{Cite web|title=Playing Draupadi made me strong: Pooja Sharma – Times of India|url=https://timesofindia.indiatimes.com/tv/news/hindi/playing-draupadi-made-me-strong-pooja-sharma/articleshow/76316667.cms|access-date=2020-09-08|website=The Times of India|language=en}}</ref><ref>{{Cite web|title=From Roopa Ganguly to Pooja Sharma, these actresses have played the role of Draupadi on TV|url=https://www.timesnownews.com/the-buzz/article/draupadi-kirdaar-roopa-ganguly-pooja-sharma-mrinal-kulkarni-anita-hassanandani-ashwini-kalsekar-falguni-parekh-have-played-the-role-of-draupadi-on-tv/594550|access-date=2020-09-08|website=www.timesnownews.com|language=en}}</ref>
*[[Vidya Balan]] has also voiced the character in the Hindi animation film ''[[Mahabharat (2013 film)|Mahabharat]] (2013).''<ref>{{Cite web|last=Desk|first=India TV News|date=2013-10-02|title=Vidya Balan lends voice for Draupadi in 'Mahabharat'|url=https://www.indiatvnews.com/entertainment/bollywood/vidya-balan-draupadi-voiceover-mahabharat-animation-10088.html|access-date=2020-06-15|website=www.indiatvnews.com|language=en}}</ref>
* In ''[[Dharmakshetra]]'' (2014), Draupadi was portrayed by [[Kashmira Irani]].
* In ''[[Sankat Mochan Mahabali Hanumaan]]'' (2015), Draupadi was portrayed by [[Riyanka Chanda]].
* In the Hindi TV series ''[[Suryaputra Karn]]'' (2015) Draupadi was portrayed by [[Pankhuri Awasthy]].
*In the Kannada film [[Kurukshetra (2019 film)|''Kurukshetra'']] (2019), Draupadi was portrayed by [[Sneha (actress)|Sneha]].<ref>{{Cite web|title=Kurukshetra gets its Draupadi in Sneha|url=https://www.cinemaexpress.com/stories/news/2017/jul/18/kurukshetra-gets-its-draupadi-in-sneha-1222.html|access-date=2020-06-15|website=The New Indian Express}}</ref>
*In the Hindi TV series'' [[RadhaKrishn|Radhakrishn]]'' (2018) broadcast on [[Star Bharat]], Draupadi is portrayed by [[Ishita Ganguly]].

==In literature==
The fiery heroine of [[Mahabharata]] has been the topic of research and debate for centuries. There are various plays and novels about her.

*[[Yajnaseni (novel)|Yajnaseni]] by [[Pratibha Ray]] – This novel, originally written in Oriya was the recipient of [[Jnanpith Award]].<ref>{{cite web|url=http://indiatoday.intoday.in/story/odia-writer-pratibha-ray-named-for-jnanpith-award/1/239724.html|title=Odia writer Pratibha Ray named for Jnanpith Award|date=27 December 2012|website=India Today}}</ref> It was also translated in various languages like English, Hindi, Bengali, Tamil, Malayalam, etc.
*[[The Palace of Illusions: A Novel]] by [[Chitra Banerjee Divakaruni]] – Deviating much from the Sanskrit text, Divakaruni brings up the emotions of Draupadi, re-imagining the whole epic from her perspective.
* [[Droupadi]] by [[Yarlagadda Lakshmi Prasad]], is a Sahitya Akademi Award-winning Telugu novel that narrates [[Mahabharata]] from Droupadi's perspective.
*The Cult of Draupadi<ref>{{cite web|url=http://press.uchicago.edu/ucp/books/book/chicago/C/bo3626877.html|title=The Cult of Draupadi, Volume 1}}</ref> by [[Alf Hiltebeitel]] – This trilogy 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 dedicated to Draupadi Amman. The story of Draupadi creates great respect for women in society. Her sacrifice and her inner power defeats the evil activities performed on women
*Nathabati Anathbat by [[Shaoli Mitra]] – This is a stage play<ref>{{cite web|url=https://www.youtube.com/watch?v=wEMipNhKC54|title=Nathabati Anathbat in Hindi – Shaoli Mitra|last=Abhimonyu Deb|date=31 August 2016|via=YouTube}}</ref> depicting the agony of Draupadi as a woman who "has five husbands, and yet none to protect her."
*Dropodi{{citation needed|date=January 2021}} by [[Mahasweta Devi]] in [[Bengali language|Bengali]] – A contemporary tale of oppression with Draupadi as the lead character.
*[[The Great Indian Novel]] by Dr. [[Shashi Tharoor]] – Written as a fictional work that is analogous to the events featured in the Mahabharata in order to describe contemporary Indian Politics, Dr.Tharoor has described the character of 'Draupadi' as 'Di Mokrasi', who is an illegitimate daughter of 'Dhritarashtra' and 'Lady Drewpad' in the novel. Tharoor likens Draupadi to the tenets of 'Democracy'. As mentioned in Ved Vyasa's epic, he ascribes her to be the wife to all five 'Pandyas', who are themselves an abbreviation of different facets of Indian politics.

==See also==
* [[Agnivansha]]
* [[Draupati Amman]]
* [[Yajnaseni (novel)|Yajnaseni]], a novel by [[Pratibha Ray]]
* [[Yajnaseni (play)|Yajnaseni]], a play by [[Suman Pokhrel]]

==Notes==
{{Reflist}}
{{Notelist}}

==References==
* {{Cite journal|last=Bhattacharya|first=Pratip|date=2004|title=''She Who Must Be Obeyed'', Draupadi: The ill fated one|url=http://www.manushi-india.org/pdfs_issues/PDF%20144/Panchkanya%2019-30.pdf|volume=Panchakanya 19–30|journal=[[Manushi]]}}
* ''Eminent women in the Mahabharata'' by Vanamala Bhawalkar.
*{{cite book |title = Puranic Encyclopaedia: a Comprehensive Dictionary with Special Reference to the Epic and Puranic Literature |url = https://archive.org/details/puranicencyclopa00maniuoft/page/548/mode/1up | publisher = Motilal Banarsidass Publishers |year = 1975| isbn = 978-0-8426-0822-0 |first = Vettam|last = Mani|pages=}}
*{{Cite book|last=Chakravarti|first=Bishnupada|url=https://books.google.com/books?id=ivQ6CwAAQBAJ&q=Keechak&pg=PT105|title=Penguin Companion to the Mahabharata|date=2007-11-13|publisher=Penguin UK|isbn=978-93-5214-170-8|language=en}}
* {{Cite book|last1=Chakrabarti|first1=Arindam|url=https://books.google.com/books?id=HuffCgAAQBAJ&q=ayonija+dhrstadyumna&pg=PT67|title=Mahabharata Now: Narration, Aesthetics, Ethics|last2=Bandyopadhyay|first2=Sibaji|date=2017-09-19|publisher=Routledge|isbn=978-1-317-34213-7|language=en}}
*The Critical Edition of Mahabharat(1966) published by Bhandarkar Oriental Research Institute
* ''Mahabharata'' (1999) by [[Krishna Dharma]]
* Mahabharata of Krishna Dwaipayana Vyasa, English translation by Kisari Mohan Ganguli
* {{citation |editor-last=Doniger |editor-first=Wendy |editor-link=Wendy Doniger |title=Purana Perennis: Reciprocity and Transformation in Hindu and Jaina Texts |url=https://books.google.com/books?id=-kZFzHCuiFAC |year=1993 |publisher=[[State University of New York Press]] |isbn=0-7914-1381-0 }}
* {{cite book|last1=Hiltebeitel|first1=Alf|author-link1=Alf Hiltebeitel|title=Rethinking India's Oral and Classical Epics: Draupadi among Rajputs, Muslims, and Dalits|date=1999|publisher=[[University of Chicago Press]]|location=[[Chicago]]|isbn=0226340554|url=https://books.google.com/books?id=MMFdosx0PokC|access-date=28 September 2015}}
* {{Cite book|last=Gandhi|first=Maneka|url=https://books.google.com/books?id=PkW6hs1OjyEC&q=Draupadi|title=The Penguin Book of Hindu Names|date=1993|publisher=Penguin Books India|isbn=978-0-14-012841-3|language=en}}
* {{Cite book|last=Karve|first=Irawati|url=https://books.google.com/books?id=uJz4ZWsRcsAC&q=Draupadi|title=Yuganta: The End of an Epoch|year=2006|publisher=Orient Longman|isbn=978-81-250-1424-9|language=en}}
* {{Cite book|last=Monier-Williams|first=Sir Monier|url=https://books.google.com/books?id=FzRDAQAAMAAJ&q=Draupadi+patronymic&pg=PA442|title=A Sanskṛit-English Dictionary Etymologically and Philologically Arranged: With Special Reference to Greek, Latin, Gothic, German, Anglo-Saxon, and Other Cognate Indo-European Languages|date=1872|publisher=Clarendon Press|language=en}}
*{{cite book|editor=Gayatri Chakravorty Spivak|author = Mahasweta Devi|author-link = Mahasweta Devi|chapter = Draupadi |title=In Other Worlds: Essays In Cultural Politics|date=6 December 2012|publisher=Routledge|isbn=978-1-135-07081-6|page=251|url=https://books.google.com/books?id=S6QsvDyroWkC}}
* {{cite book|author=Wendy Doniger|author-link=Wendy Doniger|title=On Hinduism|date=March 2014|publisher=Oxford University Press|isbn=978-0-19-936007-9|page=533|url=https://books.google.com/books?id=iM_QAgAAQBAJ&q=Draupadi}}
*{{cite book|author=Devdutt Pattanaik|author-link=Devdutt Pattanaik|title=The Goddess in India: The Five Faces of the Eternal Feminine|date=1 September 2000|publisher=Inner Traditions / Bear & Co|isbn=978-1-59477-537-6|page=98|url=https://books.google.com/books?id=IVsoDwAAQBAJ&q=Draupadi}}
* {{Cite book|last=Das|first=Gurcharan|url=https://books.google.com/books?id=77BoAgAAQBAJ&pg=PA219|title=The Difficulty of Being Good: On the Subtle Art of Dharma|date=2010-10-04|publisher=Oxford University Press|isbn=978-0-19-978147-8|language=en}}
* {{Cite book|last=Hiltebeitel|first=Alf|url=https://books.google.com/books?id=U4NF8pYxdvIC&q=yaj%C3%B1asen%C4%AB&pg=PA490|title=Dharma: Its Early History in Law, Religion, and Narrative|date=2011-08-17|publisher=Oxford University Press, USA|isbn=978-0-19-539423-8|language=en}}

== External links ==
{{Sister project links|commonscat=|n=no|s=no|b=no|voy=no|v=no}}
* [http://www.sacred-texts.com/hin/maha/index.htm Sacred-texts.com]
* [http://www.karava.org/religious The Kaurava race of Sri Lanka and the worship of Draupadi]
* [http://www.karaga.com/ Karaga Worship is all about Goddess Draupadi]

{{Mahābhārata}}
{{Authority control}}

[[Category:Characters in the Mahabharata]]
[[Category:People related to Krishna]]
[[Category:Indian female royalty]]

2023-05-10T06:07:40Z

Trueth:

{{Short description|Indian queen (13-14th century C.E.)}}
{{About|the Queen of Mewar|the Indian actress|Rani Padmini (actress)|the Malayalam film|Rani Padmini (film)}}
{{Infobox royalty
| image= 22Princess Padmavati ca. 1765 Bibliothèque nationale de France, Paris.jpg
| alt= An 18th-century painting of Padmini.
| caption= An 18th-century painting of Padmini.
| spouse= [[Ratnasimha|Ratan Singh]]
| title= [[Rani]] of [[Mewar]]
| religion= [[Hinduism]]
| dynasty= [[Guhila dynasty|Guhila]] ''(by marriage)'' [[Sinhalese people|Sinhalese (Sri Lankan)]] ''(by birth)'' Singoli Princes (as per Amara Kavya Vanshavali) {{sfn|Ram Vallabh Somani|1976|page=102}}
| father= King Gandharvasen
| mother= Queen Champavati
}}
'''Padmini''', also known as '''Padmavati''', was a 13th–14th century [[Rani]] (queen) of the [[Mewar]] kingdom of present-day India. Several medieval texts mention her, although this versions are disparate and many modern historians question the extent of overall authenticity.<ref>{{harvnb|Ram Vallabh Somani|1976|page=103}}: "As regards item no.1, Kr Quanago does not seem to be right in thinking that Jayasi originated the story of Padmini. We have got the following points to disprove the above contention:-
(a) Jayasi himself has mentioned that he has taken the story from the poet Bain.
(b) We find this story in Chittai Charita composed at Sarangpur (M.P) in 1526 A.D.,a few years earlier to the composition of Padmavat by Jayasi.
(c) Hemaratain wrote Gora Badal Chaupai, only a few years after Jayasi, He has mentioned the
two names of other poets, namely Hetamadan and Kavimala, whose work he had seen. This proves that during the time of Jayasi, several versions of this story were already known</ref>

The Jayasi text describes her story as follows: Padmavati was an exceptionally beautiful [[princess]] of the [[Sinhala Kingdom|Sinhalese kingdom]] (in [[Sri Lanka]]).{{efn|name=Pungal|According to historian Lokendra Singh Chundawat (spokesperson of ''Jauhar Sewa Sansthan''),<ref name=TOI/> Padmini was not from Sri Lanka but she was born in Pungal Pradesh, an area between [[Bikaner]] and [[Jaisalmer]].<ref>{{Cite web|date=2017-02-03|title=Padmavati row: Was Padmini a fictional character or a queen who enamoured Khilji?|url=https://www.hindustantimes.com/india-news/padmavati-row-was-padmini-a-fictional-character-or-a-queen-who-enamoured-khilji/story-7wYAUtMaPEndrS2DDFlo2O.html|work=Hindustan Times|access-date=2021-11-14}}</ref><ref name=TOI_1/>}} [[Ratnasimha|Ratan Sen]], the [[Rajput]] ruler of [[Chittor Fort]], heard about her beauty from a [[talking parrot]] named Hiraman. After an adventurous [[quest]], he won her hand in marriage and brought her to [[Chittor]]. Ratan Sen was captured and imprisoned by [[Alauddin Khalji]], the [[Sultanate of Delhi|Sultan of Delhi]]. While [[Rattan|Ratan]] Sen was in prison, the king of [[Kumbhalgarh|Kumbhalner]] Devapal became enamoured with Padmavati's beauty and proposed to marry her. Ratan Sen returned to Chittor and entered into a duel with Devapal, in which both died. Alauddin Khalji laid siege to Chittor to obtain Padmavati. Facing a defeat against Khalji, before Chittor was captured, she and her companions committed [[Jauhar]] (self-immolation) thereby defeating Khalji's aim and protecting their honour. Coupled to the ''[[Jauhar]]'', the Rajput men died fighting on the battlefield.

Many other written and [[oral tradition]] versions of her life exist in Hindu and Jain traditions. These versions differ from the Sufi poet Jayasi's version. For example, Rani Padmini's husband Ratan Sen dies fighting the siege of Alauddin Khalji, and thereafter she leads a jauhar. In these versions, she is characterised as a [[Hindu]] Rajput queen, who defended her honour against a [[Muslim]] invader. Over the years she came to be seen as a [[historical figure]] and appeared in several novels, plays, [[television serial]]s and movies.

== Versions of the legend ==

Several 16th-century texts survive that offer varying accounts of Rani Padmini's life.{{sfn|Ramya Sreenivasan|2007|pp=2-3, Quote: "Multiple narratives of Padmini of Chitor first emerged in the sixteenth century, and survived over the next four centuries."}} Of these, the earliest is the [[Awadhi language]] ''[[Padmavat]]'' (1540 CE) of the Sufi composer [[Malik Muhammad Jayasi]], likely composed originally in the Persian script.{{sfn|Ramya Sreenivasan|2007|pp=2, 9}} The 14th-century accounts written by Muslim court historians that describe Alauddin Khalji's 1302 CE conquest of [[Chittorgarh]] make no mention of this queen.{{sfn|Ramya Sreenivasan|2007|p=4}} Jain texts between 14th and 16th century – Nabinandan Jenudhar, Chitai Charitra and Rayan Sehra have mentioned Rani Padmini.<ref name=TOI_1>{{cite web|url=https://timesofindia.indiatimes.com/city/jaipur/khilji-did-not-attack-chittor-for-padmini/articleshow/57154581.cms|title="Khilji did not attack Chittor for Padmini"|date=2017-02-15|work=The Times of India}}</ref>

Subsequently, many literary works mentioning her story were produced; these can be divided into four major categories:{{sfn|Ramya Sreenivasan|2007|p=2-3}}

# '''Persian and Urdu adaptions''' — Between 16th and 19th centuries, at least 12 [[Persian language|Persian]] and [[Urdu]] translations or adaptations of Malik Muhammad Jayasi's ''Padmavat'' were produced.{{sfn|Ramya Sreenivasan|2007|p=3}} More Urdu versions appeared in the 20th century, all adhering to Jayasi's [[love poetry]] tradition.{{sfn|Ramya Sreenivasan|2007|pp=3-4}}
# '''Rajput ballads''' — In 1589 CE, Hemratan composed ''Gora Badal Padmini Chaupai'', the first [[Rajput]] adaption of the legend, presenting it as a "true tale".{{sfn|Ramya Sreenivasan|2007|pp=3, 209}} Between 16th and 18th centuries, more Rajput versions of the Padmavati legend were compiled in present-day [[Rajasthan]], under the patronage of the Rajput chiefs. Unlike Jayasi's theme of courting and marriage, the Rajput adaptions emphasized their honour in defending their kingdom against Alauddin Khalji.{{sfn|Ramya Sreenivasan|2007|p=3}}
# '''James Tod's version''' — During 1829–32, [[James Tod]] included a [[British Raj|colonial]] re-telling of the legend in his ''Annals and Antiquities of Rajast'han''. His version was based on the information compiled from the oral and textual traditions of writers employed by the Rajput chiefs.{{sfn|Ramya Sreenivasan|2007|p=3}}
# '''Bengali adaptions''' — The [[epic poem]] [[Padmavati (poem)|Padmavati]] was written by the medieval Bengali poet [[Alaol]]. From late 19th century onward, several [[Bengali language|Bengali]] versions of the legend were produced, when James Tod's work reached [[Calcutta]], the capital of British India. These Bengali narratives portrayed Padmavati as a Hindu queen who immolated herself to protect her honour against a Muslim invader.{{sfn|Ramya Sreenivasan|2007|p=3}}

In addition to these various literary accounts, a variety of legends are located in vernacular [[oral tradition]]s from about 1500 or later; these have evolved over time.{{sfn|Ramya Sreenivasan|2007|pp=3-4}}{{sfn|Ramya Sreenivasan|2007|pp=6-8}} The oral legends and the literary accounts share the same characters and general plot, but diverge in the specifics and how they express the details. The oral versions narrate the social group's perspective while the early literary versions narrate the author's court-centric context.{{sfn|Ramya Sreenivasan|2007|pp=6-8}} According to Ramya Sreenivasan, the oral and written legends about Rani Padmini likely fed each other, each version of her life affected by the sensitivities of the audience or the patron, with [[Muslim]] versions narrating the conquest of Chitor by [[Delhi Sultanate]] under Alauddin Khalji, while the [[Hindu]] and [[Jain]] versions narrating the local resistance to the sultan of Delhi exemplified in the life of Padmini.{{sfn|Ramya Sreenivasan|2007|pp=7-12}}

== Accounts ==

=== Malik Muhammad Jayasi's ''Padmavat'' (1540 CE) ===

{{main|Padmavat}}

In the Jayasi version, states Ramya Sreenivasan, Padmavati is described as the daughter of Gandharvsen, the king of the island kingdom of [[Sinhala Kingdom|Sinhala]] (Singhal kingdom, Sri Lanka).{{sfn|Ramya Sreenivasan|2007|pp=27, 35-36}} A parrot tells Chittor's king Ratansen of Padmavati and her beauty. Ratansen is so moved by the parrot's description that he renounces his kingdom, becomes an ascetic, follows the parrot as the bird leads him across seven seas to the island kingdom.{{sfn|Ramya Sreenivasan|2007|p=27}} There he meets Padmavati, overcomes obstacles and risks his life to win her. He succeeds, marries her and brings his wife to Chittor where he becomes king again. Ratansen expels a Brahmin scholar for misconduct, who then reaches Sultan Alauddin and tells him about the beautiful Padmavati.{{sfn|Ramya Sreenivasan|2007|p=27}} The sultan lusts for Padmavati, and invades Chittor in his quest for her. Ratansen, meanwhile, dies in another battle with a rival Rajput ruler.{{sfn|Ramya Sreenivasan|2007|p=27}} Padmavati immolates herself. Alauddin thus conquers Chitor for the Islamic state, but Alauddin fails in his personal quest.{{sfn|Ramya Sreenivasan|2007|p=27, Quote: "As Jayasi points out, a victorious Alauddin failed in his quest, even as Chitaur became Islam."}}

This earliest known literary version is attributed to Jayasi, whose year of birth and death are unclear.{{sfn|Ramya Sreenivasan|2007|p=28}} He lived during the rule of [[Babur]], the Islamic emperor who started the [[Mughal Empire]] after ending the Delhi Sultanate. Jayasi's compositions spread in the Sufi tradition across the Indian subcontinent.{{sfn|Ramya Sreenivasan|2007|pp=29-32, 36-45, 204}} Variants derived from Jayasi's work on Padmavati were composed between the 16th and 19th centuries and these manuscripts exist in the Sufi tradition.{{sfn|Ramya Sreenivasan|2007|pp=29-30, 123-124}} In one, princess Padmavati became close friends with a [[talking parrot]] named Hiraman. She and the parrot together studied the [[Vedas]] – the Hindu scriptures.{{sfn|Ramya Sreenivasan|2007|p=207}} Her father resented the parrot's closeness to his daughter, and ordered the bird to be killed. The panicked parrot bade goodbye to the princess and flew away to save its life. It was trapped by a [[bird trapping|bird catcher]], and sold to a [[Brahmin]]. The Brahmin bought it to Chittor, where the local king Ratan Sen purchased it, impressed by its ability to talk.{{sfn|Ramya Sreenivasan|2007|p=207}}

The parrot greatly praised Padmavati's beauty in front of Ratan Sen, who became determined to marry Padmavati. He leaves his kingdom as a [[Nath]] yogi. Guided by the parrot and accompanied by his 16,000 followers, Ratan Sen reached Singhal after crossing the seven seas. There, he commenced [[tapasya|austerities]] in a temple to seek Padmavati. Meanwhile, Padmavati came to the temple, informed by the parrot, but quickly returned to her palace without meeting Ratan Sen. Once she reached the palace, she started longing for Ratan Sen.{{sfn|Ramya Sreenivasan|2007|p=207}}

Meanwhile, Ratan Sen realized that he had missed a chance to meet Padmavati. In desolation, he decided to immolate himself, but was interrupted by the deities [[Shiva]] and [[Parvati]].{{sfn|Ramya Sreenivasan|2007|pp=207-208}} On Shiva's advice, Ratan Sen and his followers attacked the royal fortress of Singhal kingdom. They were defeated and imprisoned, while still dressed as ascetics. Just as Ratan Sen was about to be executed, his royal bard revealed to the captors that he was the king of Chittor. Gandharv Sen then married Padmavati to Ratan Sen, and also arranged 16,000 ''padmini'' women of Singhal for the 16,000 men accompanying Ratan Sen.{{sfn|Ramya Sreenivasan|2007|p=208}}

[[File:Queen Nagamati talks to her parrot, Padmavat, c1750.jpg|thumb|Queen [[Nagmati]] talks to her parrot, an illustrated manuscript of ''Padmavat'' from c. 1750 CE]]
Sometime later, Ratan Sen learned from a messenger bird that his first wife — [[Nagmati]] — is longing for him back in Chittor. Ratan Sen decided to return to Chittor, with his new wife Padmavati, his 16,000 followers and their 16,000 companions. During the journey, the Ocean god punished Ratan Sen for having excessive pride in winning over the world's most beautiful woman: everyone except Ratan Sen and Padmavati was killed in a storm. Padmavati was marooned on the island of [[Lakshmi|Lacchmi]], the daughter of the Ocean God. Ratan Sen was rescued by the Ocean God. Lacchmi decided to test Ratan Sen's love for Padmavati. She disguised herself as Padmavati, and appeared before Ratan Sen, but the king was not fooled. The Ocean god and Lacchmi then reunited Ratan Sen with Padmavati, and rewarded them with gifts. With these gifts, Ratan Sen arranged a new retinue at [[Puri]], and returned to Chittor with Padmavati.{{sfn|Ramya Sreenivasan|2007|p=208}}

At Chittor, a rivalry developed between Ratan Sen's two wives, Nagmati and Padmavati. Sometime later, Ratan Sen banished a Brahmin courtier named Raghav Chetan for fraud. Raghav Chetan went to the court of Alauddin Khalji, the Sultan of Delhi, and told him about the exceptionally beautiful Padmavati.{{sfn|Ramya Sreenivasan|2007|p=208}} Alauddin decided to obtain Padmavati, and besieged Chittor. Ratan Sen agreed to offer him [[tribute]] but refused to give away Padmavati. After failing to conquer to the Chittor fort, Alauddin feigned a peace treaty with Ratan Sen. He deceitfully captured Ratan Sen and took him to Delhi. Padmavati sought help from Ratan Sen's loyal feudatories Gora and Badal, who reached Delhi with their followers, disguised as Padmavati and her female companions. They rescued Ratan Sen; Gora was killed fighting the Delhi forces, while Ratan Sen and Badal reached Chittor safely.{{sfn|Ramya Sreenivasan|2007|p=209}}

Meanwhile, Devpal, the Rajput king of Chittor's neighbour [[Kumbhalgarh|Kumbhalner]], had also become infatuated with Padmavati. While Ratan Sen was imprisoned in Delhi, he proposed marriage to Padmavati through an emissary. When Ratan Sen returned to Chittor, he decided to punish Devpal for this insult. In the ensuing [[single combat]], Devpal and Ratan Sen killed each other. Meanwhile, Alauddin invaded Chittor once again, to obtain Padmavati. Facing a certain defeat against Alauddin, Nagmati and Padmavati along with other women of Chittor committed suicide by [[jauhar|mass self-immolation]] (''jauhar'') in order to avoid being captured and to protect their honor. The men of Chittor fought to death against Alauddin, who acquired nothing but an empty fortress after his victory.{{sfn|Ramya Sreenivasan|2007|p=209}} Khalji's imperial ambitions are defeated by Ratansen and Padmavati because they refused to submit and instead annihilated themselves.{{sfn|Ramya Sreenivasan|2007|pp=201-202}}

=== Hemratan's ''Gora Badal Padmini Chaupai'' (1589 CE) ===

Ratan Sen, the Rajput king of Chitrakot (Chittor) had a wife named Prabhavati, who was a great cook. One day, the king expressed dissatisfaction with the food she had prepared. Prabhavati challenged Ratan Sen to find a woman better than her. Ratan Sen angrily set out to find such a woman, accompanied by an attendant. A [[Yogi Nath|Nath Yogi]] ascetic told him that there were many ''padmini'' women on the [[Sinhala Kingdom|Singhal]] island. Ratan Sen crossed the sea with help of another ascetic, and then defeated the king of Singhal in a game of [[chess]]. The king of Singhal married his sister Padmini to Ratan Sen, and also gave him a huge [[dowry]] which included half of the Singhal kingdom, 4000 horses, 2000 elephants and 2000 companions for Padmini.{{sfn|Ramya Sreenivasan|2007|p=210}}

In Chittor, while Ratan Sen and Padmini were making love, a Brahmin named Raghav Vyas accidentally interrupted them. Fearing Ratan Sen's anger, he escaped to [[Delhi Sultanate|Delhi]], where he was received honourably at the court of Alauddin Khalji. When Alauddin learned about the existence of beautiful ''padmini'' women on the island of Singhal, he set out on an expedition to Singhal. However, his soldiers drowned in the sea. Alauddin managed to obtain a tribute from the king of Singhal, but could not obtain any ''padmini'' women. Alauddin learned that the only ''padmini'' woman on the mainland was Padmavati. So, he gathered an army of 2.7 million soldiers, and besieged Chittor. He deceitfully captured Ratan Sen, after having caught a glimpse of Padmini.{{sfn|Ramya Sreenivasan|2007|p=210}}

The frightened nobles of Chittor considered surrendering Padmini to Alauddin. But two brave warriors — [[Gora Badal|Goru and Badil]] (also Gora and Vadil/Badal) — agreed to defend her and rescue their king. The Rajputs pretended to make arrangements to bring Padmavati to Alauddin's camp, but instead brought warriors concealed in [[palanquin]]s. The Rajput warriors rescued the king; Gora died fighting Alauddin's army, as Badil escorted the king back to the Chittor fort. Gora's wife committed [[sati (practice)|self-immolation]] (''sati''). In [[heaven]], Gora was rewarded with half of [[Indra]]'s throne.{{sfn|Ramya Sreenivasan|2007|p=211}}

=== James Tod's version ===

The 19th century British writer [[James Tod]] compiled a version of the legend in his ''Annals and Antiquities of Rajast'han''. Tod mentioned several manuscripts, inscriptions and persons as his sources for the information compiled in the book.{{sfn|Ramya Sreenivasan|2007|p=137}} However, he does not name the exact sources that he used to compile the legend of Padmini in particular.{{sfn|Ramya Sreenivasan|2007|p=138}} He does not mention Malik Muhammad Jayasi's ''Padmavat'' or any other Sufi adaptions of that work among his sources, and seems to have been unaware of these sources.{{sfn|Ramya Sreenivasan|2007|p=137}} He does mention ''Khumman Raso'' in connection with the legend of Padmini, but he seems to have relied more on the local bardic legends along with Hindu and Jain literary accounts. Tod's version of Padmini's life story was a synthesis of multiple sources and a Jain monk named Gyanchandra assisted Tod in his research of the primary sources relating to Padmini.{{sfn|Ramya Sreenivasan|2007|pp=119, 138-139}}

According to Tod's version, Padmini was the daughter of Hamir Sank, the Chauhan ruler of Ceylon.{{sfn|Ramya Sreenivasan|2007|p=140}} The contemporary ruler of Chittor was a minor named Lachhman Singh (alias Lakhamsi or Lakshmanasimha). Padmini was married to Lachhman Singh's uncle and regent Maharana Bhim Singh (alias Bhimsi).{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} She was famous for her beauty, and Alauddin (alias Ala) besieged Chittor to obtain her. After negotiations, Alauddin restricted his demand to merely seeing Padmini's beauty through a mirror and do so alone as a symbol of trust. The Rajputs reciprocate the trust and arrange to have Padmini sit in a room at the edge of a water tank. Alauddin gets a fleeting glimpse of her in a mirror in a building at a distance across the water tank. That glimpse inflamed his lust for her. The unsuspecting Rajput king further reciprocates the trust shown by Alauddin by accompanying the Sultan to his camp so that he returns without harm.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}}

However, Alauddin had resolved to capture Padmini by treachery. The Sultan took Bhimsi hostage when they arrived at the Muslim army camp, and he demanded Padmini in return for Rajput king's release. Padmini plots an ambush with her uncle Gora and his nephew Badal, along with a ''jauhar'' – a mass immolation – with other Rajput women.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} Gora and Badal attempt to rescue Bhimsi without surrendering Padmini. They informed Alauddin that Padmini would arrive accompanied by her maids and other female companions. In reality, soldiers of Chittor were placed in [[palanquins]], and accompanied by other soldiers disguised as porters.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} With this scheme, Gora and Badal managed to rescue Bhimsi, but a large number of the Chittor soldiers died in the mission. Alauddin then attacked Chittor once again with a larger force. Chittor faced a certain defeat. Padmini and other women died from self-immolation (''jauhar''). Bhimsi and other men then fought to death, and Alauddin captured the fort.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}}{{sfn|Ramya Sreenivasan|2007|pp=214-217}}

Inscriptions discovered after the publication of James Tod's version suggest that he incorrectly stated Lakshmanasimha (Lachhman Singh) as the ruler. According to these inscriptions, at the time of Alauddin's attack on Chittor, the local ruler was Ratnasimha (Ratan Singh or Ratan Sen), who is mentioned in other versions of the Rani Padmini-related literature.{{sfn|Subimal Chandra Datta|1931|pp=289-290}} Further, even though Lakshmanasimha's placement in 1303 was [[Anachronism|anachronistic]], the evidence confirms that Lakshmanasimha resisted the Muslim invasion of Chittor after Ratnasimha.{{sfn|Subimal Chandra Datta|1931|pp=293-294}}

=== Bengali adaptations ===

[[Alaol|Syed Alaol]] composed the [[epic poem]] [[Padmavati (poem)|Padmavati]] in mid-17th century which was influenced by Jayasi's text. According to this text, Padmini handed over the responsibility of her two sons to Alauddin before her death by committing ''[[jauhar]]''.<ref>Dr. Ashok Kumar Mishra (2011). ''উচ্চমাধ্যমিক বাংলা সাহিত্যের ইতিহাস (Uccha Madhyamik Bangla Sahityer Itihas)'' (in Bengali). Kolkata: Rabindra Library. p. 119. Retrieved 20 November 2021. "জহরব্রতে মৃত্যুর আগে পদ্মিনী তাঁর দুই পুত্রের ভার তুলে দিয়ে যান আলাউদ্দিনের হাতে।"</ref>

Yagneshwar Bandyopadhyay's ''Mewar'' (1884) vividly describes the ''[[jauhar]]'' (mass self-immolation) of Padmini and other women, who want to protect their chastity against the "wicked Musalmans".{{sfn|Ramya Sreenivasan|2007|pp=224-225}}

[[Rangalal Bandyopadhyay]]'s patriotic and narrative poem ''Padmni Upakhyan'' based on the story of Rajput queen Padmini was published in 1858.<ref>{{Cite book|chapter-url=https://books.google.com/books?id=m1R2Pa3f7r0C&pg=PA81|title=Modern Indian Literature, an Anthology: Surveys and poems|author=Ajit Kumar Ghosh |chapter=Bengali |editor=K. M. George|access-date=1 March 2018|isbn=9788172013240|year=1992|page=81}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=sHklK65TKQ0C&pg=PA145|title=History of Indian Literature|last=Sisir Kumar Das|isbn=9788172010065|year=2005}}</ref>

[[Kshirode Prasad Vidyavinode]]'s play ''Padmini'' (1906) is based on James Tod's account: The ruler of Chittor is Lakshmansinha, while Padmini is the wife of the Rajput warrior Bhimsinha. Vidyavinode's story features several sub-plots, including those about Alauddin's exiled wife Nasiban and Lakshmansinha's son Arun. Nevertheless, his account of Alauddin and Padmini follows Tod's version with some variations. Alauddin captures Bhimsinha using deceit, but Padmini manages to rescue him using the [[palanquin]] trick; another noted warrior Gora is killed in this mission. As the Rajput men fight to death, Padmini and other women immolate themselves. The lineage of Lakshmansinha survives through Arun's son with a poor forest-dwelling woman named Rukma.{{sfn|Ramya Sreenivasan|2007|pp=222-224}}

[[Abanindranath Tagore]]'s ''Rajkahini'' (1909) is also based on Tod's narrative, and begins with a description of the Rajput history. Bhimsinha marries Padmini after a voyage to [[Sinhala Kingdom|Sinhala]], and brings her to Chittor. Alauddin learns about Padmini's beauty from a singing girl, and invades Chittor to obtain her. Bhimsinha offers to surrender his wife to Alauddin to protect Chittor, but his fellow Rajputs refuse the offer. They fight and defeat Alauddin. But later, Alauddin captures Bhimsinha, and demands Padmini in exchange for his release. Padmini, with support from the Rajput warriors Gora and Badal, rescues her husband using the palanquin trick; Gora dies during this mission. Meanwhile, [[Timur]] invades the Delhi Sultanate, and Alauddin is forced to return to Delhi. 13 years later, Alauddin returns to Chittor and besieges the fort. Lakshmansinha considers submission to Alauddin, but Bhimsinha convinces him to fight on for seven more days. With blessings of the god [[Shiva]], Padmini appears before Lakshmansinha and his ministers as a goddess, and demands a [[blood sacrifice]] from them. The women of Chittor die in mass self-immolation, while the men fight to death. The victorious Alauddin razes all the buildings in Chittor, except Padmini's palace and then returns to Delhi.{{sfn|Ramya Sreenivasan|2007|pp=225-226}}

== Historicity ==
[[File:Oil painting of Padmini's palace in the fort in the midst of the tank.jpg|thumb|An 1878 painting of Padmini's purported palace]]
[[File:ChittorgarhFortWaterReflection.JPG|thumb|A 2010 photograph of the Padmini Palace]]
[[File:Padmini Palace, Chittorgarh, Rajasthan.jpg|thumb|This building in Chittorgarh is purported to be Rani Padmini's palace, but this is not certain and is a relatively modern structure.{{sfn|Shiri Ram Bakshi|2008|p=182, Quote: "At Chitor no building of this class can with certainty be said to have existed anterior to the sack of the place by Alauddin in 1303."}}]]
[[File:Interiors of Padmini Palace.jpg|thumb|Interiors of Padmini Palace]]
Alauddin Khalji's [[Siege of Chittorgarh (1303)|siege of Chittor]] in 1303 CE is a historical event. Although this conquest is often narrated through the legend of Padmini wherein Sultan Khalji lusted for the queen, this narration has little historical basis.{{sfn|Catherine B. Asher|Cynthia Talbot|2006|p=41}}

The earliest source to mention the Chittor siege of 1303 CE is ''Khaza'in ul-Futuh'' by [[Amir Khusrau]], a court poet and [[panegyrist]], who accompanied Alauddin during the campaign. Khusrau makes no mention of any Padmavati or Padmini, though later translator of Khusrau allegorical work see allusions to Padmini.{{sfn|Ramya Sreenivasan|2007|pp=22-23, Quote: "His [Amir Khusrau] eyewitness account does not mention Padmini, although its modern translator sees a covert allusion to the queen: (...)"}} Amir Khusrau also describes the siege of Chittor in his later romantic composition ''Diwal Rani Khizr Khan'' (c. 1315 CE), which describes the love between a son of Alauddin and the princess of Gujarat. Again, he makes no mention of Padmini.{{sfn|Ramya Sreenivasan|2007|pp=22-24}}

Some scholars, such as [[Ashirbadi Lal Srivastava]], [[Dasharatha Sharma]], and [[Mohammad Habib]], have suggested that Amir Khusrau makes a veiled reference to Padmini in ''Khaza'in ul-Futuh''.{{sfn|Ram Vallabh Somani|1976|pp=97-98}} Similarly, the historian Subimal Chandra Datta in 1931 stated that the Khusrau's 14th-century poetic eulogy of his patron's conquest of Chittor, there is a mention of a bird ''[[Hudhud (mythology)|hudhud]]'' that in later accounts appears as a parrot,{{sfn|Subimal Chandra Datta|1931|p=298 footnote 3}} and implies "Alauddin insisted on the surrender of a woman, possibly Padmini".{{sfn|Subimal Chandra Datta|1931|pp=297-298}}

{{Blockquote
|quote=On Monday, 11 Muharram, AH 703, the Solomon of the age [Alauddin], seated on his aerial throne, went into the fort, to which birds were unable to fly. The servant [Amir Khusrau], who is the bird of this Solomon, was also with him. They cried, "Hudhud! Hudhud!" repeatedly. But I would not return; for I feared Sultan's wrath in case he inquired, "How is it I see not Hudhud, or is he one of the absentees?" And what would be my excuse for my absence if he asked, "Bring to me a clear plea"? If the Emperor says in his anger, "I will chastise him", how can the poor bird have strength enough to bear it? It was the rainy season when the white cloud of the ruler of the land and sea appeared on the summit of this high hill. The Rai, struck with the lightning of the Emperor's wrath and burnt from hand to foot, he threw himself into the water and flew towards the imperial pavilion, thus protecting himself from the lightning of the sword.
|author=Amir Khusrau
|title=''Khaza'in ul-Futuh''{{sfn|Ramya Sreenivasan|2007|pp=22-24}}
}}

Other historians, such as [[Kishori Saran Lal]] and Kalika Ranjan Qanungo, have questioned the interpretation that Amir Khusrau's reference is about Padmini.{{sfn|Ram Vallabh Somani|1976|p=98}}

According to Datta, a definitive historical interpretation of Khusrau's poetic work is not possible. It is unlikely that Alauddin attacked Chittor because of his lust for Padmini, states Datta, and his reasons were likely political conquest just like when he attacked other parts of Mewar region.{{sfn|Subimal Chandra Datta|1931|pp=297-298}} According to [[Ziauddin Barani]], in 1297 CE, a [[Kotwal]] officer of Alauddin had told him that he would have to conquer [[Ranthambore Fort|Ranthambore]], Chittor, [[Chanderi]], [[Dhar]] and [[Ujjain]] before he could embark on a world conquest. This, not Padmini, would have prompted Alauddin to launch a campaign against Chittor.{{sfn|Subimal Chandra Datta|1931|p=290}} In addition, Mewar had given refuge to people who had rebelled or fought against Alauddin.{{sfn|Subimal Chandra Datta|1931|p=291}} Datta states that there is a mention of Alauddin demanding Padmini during negotiations of surrender, a demand aimed to humiliate the long defiant Rajput state.{{sfn|Subimal Chandra Datta|1931|p=298}} Further, Khusrau's account does abruptly mention that Alauddin went into the fort with him, but does not provide any details of why. The Khusrau source then mentions his patron emperor "crimson in rage", the Rajput king surrendering then receiving "royal mercy", followed by an order of Alauddin that led to "30,000 Hindus being slain in one day", states Datta.{{sfn|Subimal Chandra Datta|1931|p=292-293}} The word Padmini or equivalent does not appear in the Khusrau source, but it confirms the siege of Chittor, a brutal war and the kernel of facts that form the framework of later era Padmini literature.{{sfn|Subimal Chandra Datta|1931|p=289-293}}

According to archeologist Rima Hooja, most of romantic details of Jayasi's work are indeed legendary but the central plot of the text is certainly based on historical fact. Amir Khusrau's work presented Alauddin as [[Solomon]] and himself as Hud-Hud bird who carried the news of beautiful [[Queen of Sheba|Queen of Shebha]] (who lives in Chittor fort) to Solomon. Further, being a courtier of Alauddin, Khusrau was not in position to be straightforward about unpleasant facts of Alauddin's life and omitted several of those incidents from his work, including the murder of [[Jalal-ud-din Khalji]] for throne and his defeat against the Mongols and their besieging of Delhi.<ref>{{Cite book|author=Rima Hooja|url=https://books.google.com/books?id=qqd1RAAACAAJ |title=A HISTORY OF RAJASTHAN (PB) |date=2006 |publisher=Rupa & Company|isbn=978-81-291-1501-0|page=312-313|language=en}}</ref>

=== Development as a historical figure ===

Other early accounts of the Chittor siege, such as those by [[Ziauddin Barani]] and [[Isami (historian)|Isami]], do not mention Padmini. Their records state that Alauddin seized Chittor, set up military governors there, then returned to Delhi after forgiving Ratansen and his family.{{sfn|Aditya Behl|2012|p=177}}{{sfn|V. K. Agnihotri|2010|p=2}} The first uncontestable literary mention of Padmini is [[Malik Muhammad Jayasi]]'s ''[[Padmavat]]'' (c. 1540 CE).{{sfn|Ramya Sreenivasan|2007|p=27}}
According to [[Ramya Sreenivasan]], "it is possible that Jayasi mixed-up [[Alauddin Khilji]] and [[Ghiyath Shah|Ghiyath al-din Khilji]] of [[Malwa Sultanate]] (1469–1500) who had a roving eye, and is reported to have undertaken the quest for Padmini (not a particular Rajput princess, but the ideal type of woman according to Hindu erotology). Ghiyath al-din Khalji, according to a Hindu inscription in the Udaipur area, was defeated in battle in 1488 by a Rajput chieftain, Badal-Gora, which incidentally also happened to be the names of the twins, [[Gora Badal|
Badal and Gora]], the vassals of Ratansen"<ref>{{cite web
|url=https://www.dailyo.in/arts/padmavati-sufism-controversy-rajput-karni-sena-jayasi-history-khilji/story/1/20609.html
|title=What history can and can't tell you about Alauddin Khilji and legend of Padmavati
}}</ref>
Hemratan's ''Gora Badal Padmini Chaupai'' (c. 1589 CE) narrates another version of the legend, presenting it as based on true events.{{sfn|Ramya Sreenivasan|2007|pp=3, 209}} From then until the 19th century, several other adaptions of these two versions were produced.{{sfn|Ramya Sreenivasan|2007|pp=3-4}} The 16th-century historians [[Firishta]] and Haji-ud-Dabir were among the earliest writers to mention Padmini as a historical figure, but their accounts differ with each other and with that of Jayasi. For example, according to Firishta, Padmini was a daughter (not wife) of Ratan Sen.{{sfn|Syama Prasad Basu|1963|p=139-141}}

Regarding the historicity of Padmini's story, historian S. Roy wrote in ''[[The History and Culture of the Indian People]]'' that "...... [[Abu'l-Fazl ibn Mubarak|Abu-'l Fazl]] definitely says that he gives the story of Padminī from "ancient chronicles", which cannot obviously refer to the ''[[Padmavat|Padmāvat]]'', an almost contemporary work. ...... it must be admitted that there is no inherent impossibility in the kernel of the story of Padminī devoid of all embellishments, and it should not be totally rejected off-hand as a myth. But it is impossible, at the present state of our knowledge, to regard it definitely as a historical fact."<ref>{{cite book |editor1=[[R. C. Majumdar]] |editor2=A. D. Pusalker |editor3=A. K. Majumdar |date=1967 |title=History and Culture of the Indian People, Volume 06, The Delhi Sultanate |url=https://archive.org/details/delhisultanate00bhar/page/26/mode/2up?view=theater |location=Bombay |publisher=Bharatiya Vidya Bhavan |pages=26–27 |access-date=2021-11-15}}</ref>

When the British writer [[James Tod]], who is now considered to be unreliable,{{sfn|Jason Freitag|2009|pp=3-5}} compiled the legends of Rajasthan in the 1820s, he presented Padmini as a historical figure, and Padmini came to be associated with the historical siege of Chittor. In the 19th century, during the [[Swadeshi movement]], Padmini became a symbol of Indian patriotism. Indian nationalist writers portrayed her story as an example of a heroic sacrifice, and a number of plays featuring her were staged after 1905.{{sfn|Ratnabali Chatterjee|1996|p=37}} Ireland-born [[Sister Nivedita]] (1866–1971) also visited Chittor and historicised Padmini. The ''Rajkahini'' by [[Abanindranath Tagore]] (1871–1951) popularised her as a historical figure among schoolchildren. Later, some history textbooks began to refer to Khalji invading Chittor to obtain Padmini.{{sfn|Ratnabali Chatterjee|1996|p=38}} [[Jawaharlal Nehru]]'s ''[[The Discovery of India]]'' (1946) also narrates Khalji seeing Padmini in a mirror; Nehru's narrative is believed to be based on recent local poets.{{citation needed|date=April 2020}}

By the 20th century, Rajput Hindu women of Rajasthan characterised Padmini as a historical figure who exemplifies Rajput womanhood.{{sfn|Ramya Sreenivasan|2007|p=1}} Hindu activists have characterised her as a chaste Hindu woman, and her suicide as a heroic act of resistance against the invader Khalji.{{sfn|Ratnabali Chatterjee|1996|p=38}} She has been admired for her character, her willingness to commit [[jauhar]] instead of being humiliated and accosted by Muslims, as a symbol of bravery and an exemplar like [[Meera]].{{sfn|Lindsey Harlan|1992|pp=182-187}}

''Padmini Mahal'' (Padmini Palace), said to be the royal abode of Queen Padmini, is situated at the southern part of [[Chittorgarh Fort]].<ref>{{Cite web|title=Padmini Palace Chittorgarh {{!}} History, Best Time & How To Reach|url=https://www.holidify.com/places/chittorgarh/padmini-palace-sightseeing-121013.html|work=Holidify|access-date=2021-11-16}}</ref><ref>{{Cite web|title=Padmini Palace, Chittorgarh - Entry Fee, Visit Timings, Things To Do & More...|url=https://www.transindiatravels.com/rajasthan/chittorgarh/padmini-palace/|work=Trans India Travels|access-date=2021-11-16}}</ref><ref>{{Cite web|title=Rani Padmini Palace / Padmini Mahal, Chittorgarh|url=https://www.trawell.in/rajasthan/chittorgarh/rani-padmini-palace-padmini-mahal|work=Trawell.in|access-date=2021-11-16}}</ref> It is said that here Alauddin Khalji had a glimpse of Padmini's legendary beauty through a mirror.<ref>{{Cite web|date=2017-11-27|title=ASI covers plaque on mirror legend outside Padmini Palace in Chittorgarh|url=https://indianexpress.com/article/india/padmavati-protest-asi-covers-plaque-on-mirror-legend-outside-padmini-palace-chittorgarh-4956204/|work=The Indian Express|access-date=2021-11-16}}</ref><ref name=TOI>{{Cite web|date=2017-11-27|title=ASI covers plaque outside Padmini Mahal that states Khilji saw the queen|url=https://timesofindia.indiatimes.com/city/jaipur/asi-covers-plaque-outside-padmini-mahal-that-states-khilji-saw-the-queen/articleshow/61812266.cms|work=The Times of India|access-date=2021-11-16}}</ref><ref name="IE_1">{{Cite web|date=2018-08-20|title=As Padmavati protests rage, a quiet rewrite at Padmini Palace in Chittorgarh|url=https://indianexpress.com/article/india/as-padmavati-protests-rage-a-quiet-rewrite-at-padmini-palace-rana-ratan-singh-alauddin-khilji-4936343/|work=The Indian Express|access-date=2021-11-16}}</ref><ref>{{Cite web|date=2018-02-12|title=History of Chittorgarh|url=https://www.chittorgarh.com/article/chittorgarh-history/231/|work=Chittorgarh|access-date=2021-11-18}}</ref>{{efn|name=mirror|The mirror through which Alauddin is said to have seen Padmini, was vandalised in the year 2018.<ref name="IE_1"/><ref>{{Cite web|date=29 December 2021|title=Mirror legend of Alauddin Khilji, Rani Padmini raises tension again in Rajasthan, show at Chittorgarh Fort stopped after objections|url=https://indianexpress.com/article/cities/jaipur/alauddin-khilji-rani-padmini-mirror-legend-chittorgarh-fort-show-tension-7694750/|work=The Indian Express|access-date=31 December 2021}}</ref>}} Padmini's Palace find its mention in several historical texts of Mewar. his Palace find its reference in some of the historical texts of Mewar. One mention of it is in Amar Kavyam which states the confinement of Mahmud Khilji- II, Sultan of Malwa here by Rana Sanga. When Maharana Udai Singh married his daughter JasmaDe to Rai Singh of Bikaner, a song was composed about the charity done by Rai Singh, in which it is mentions that he donated an elephant for each step of the stairs of Padmini's Palace. It was repaired by Maharana Sajjan Singh, who got some new constructions done before [[George Robinson, 1st Marquess of Ripon|Lord Ripon]], the then [[Governor-General of India|Governor General of India]], arrived here on 23 November 1881.<ref>{{Cite web|date=2018-01-20|title=चित्तौड़गढ़ & जैन धर्म - 10. चित्तौड़गढ़ दुर्ग पर दर्शनीय स्थल|url=https://www.chittorgarh.com/article/map-of-chittorgarh-fort/222/|work=Chittorgarh|language=hi|access-date=2021-11-18}}</ref>

== Symbolism ==
The life story of Rani Padmini appears in some Muslim Sufi, Hindu Nath and Jain tradition manuscripts with embedded notes that the legend is symbolic.{{sfn|Ramya Sreenivasan|2007|pp=30-31, 44-45, 95}} Some of these are dated to the 17th-century, and state that Chittor (''Chit-aur'') symbolizes the human body, the king is the human spirit, the island kingdom of Singhal is the human heart, Padmini is the human mind. The parrot is the ''[[guru]]'' (teacher) who guides, while Sultan Alauddin symbolizes the ''Maya'' (worldly illusion).{{sfn|Ramya Sreenivasan|2007|pp=30-31, 44-45}} Such allegorical interpretations of the Rani Padmini's life story are also found in the bardic traditions of the Hindus and Jains in Rajasthan.{{sfn|Ramya Sreenivasan|2007|pp=94-96}}

== In popular culture ==
Several films based on the legend of Padmini have been made in India. These include [[Baburao Painter]]'s ''Sati Padmini'' (1924), [[Debaki Bose]]'s ''Kamonar Agun'' or ''Flames of Flesh'' (1930),{{sfn|Kishore Valicha|1980|p=124}} Daud Chand's ''Padmini'' (1948), and the Hindi language ''Maharani Padmini'' (1964).{{sfn|Rajendra Ojha|1998|p=91}}
* In 1963, for the first time, this story was made into film in Tamil as ''[[Chittoor Rani Padmini]]'' written by [[C. V. Sridhar]] and directed by [[Chitrapu Narayana Rao]] starring [[Sivaji Ganesan]] and [[Vyjayanthimala]] in lead roles.<ref>[http://www.thehindu.com/features/cinema/blast-from-the-past-chitoor-rani-padmini-1963/article7312841.ece Chitoor Rani Padmini (1963)]</ref>
* In 1986, [[Hema Malini]] played the role of Rani Padmini in one of the episodes of anthology series ''Tera Panhey''.<ref>{{cite news|url=http://zeenews.india.com/people/when-hema-malini-played-rani-padmini-2067632.html|title=When Hema Malini played Rani Padmini|access-date=19 April 2018}}</ref>
* In 1988, [[Seema Kelkar]] played the role of Rani Padmini in an episode of the Hindi drama series ''[[Bharat Ek Khoj]]'', which was based on the book ''[[The Discovery of India]]'' (1946) by [[Jawaharlal Nehru]].
* In 2009, ''[[Chittod Ki Rani Padmini Ka Johur]]'', a Hindi-language television series aired on [[Sony Entertainment Television|Sony TV]], in which Tejaswini Lonari played the role of Princess Padmavati.
* In 2017, film director [[Sanjay Leela Bhansali]] decided to make Hindi-language film ''[[Padmavati (film)|Padmavati]]'' where [[Deepika Padukone]] played the character. The film has been controversial, and led sharply divided populace. Prior to its release, a section of the population felt that the movie presented the Jayasi version and denigrated the Rajput queen. Some political leaders demanded clarification, while others supported its release.<ref>[https://www.indiatoday.in/pti-feed/story/people-feel-padmini-has-been-denigrated-in-padmavati-nitish-1099879-2017-12-04 People feel Padmini has been denigrated in Padmavati: Nitish], Press Trust of India, India Today (4 December 2017)</ref> Protests spread with groups petitioning a ban, alleging that the movie distorts history by including a romance scene between Khalji and Padmini. The film director clarified that there is no such scene in the movie. The petition to ban the movie was rejected by the [[Supreme Court of India|Indian Supreme Court]], with the ruling that movies are a form of free speech right protected by the [[Constitution of India|Indian constitution]]. The movie was released in many parts of India in late January 2018 as ''Padmaavat''.<ref>[https://www.indiatoday.in/movies/bollywood/story/padmaavat-box-office-collection-previews-deepika-padukone-ranveer-singh-shahid-kapoor-1153784-2018-01-25 Padmaavat previews box office collection: Deepika film opens to terrific response], India Today (25 January 2018)</ref><ref>[https://www.bbc.com/news/world-asia-india-42732022 Padmavat: Controversial film cleared by India's top court], BBC News (18 January 2018)</ref>
===Gallery===
<gallery>
File:Rani padmini chittaur Birla mandir 6 dec 2009 (46).JPG|Rock-painting of Queen Padmini, at Birla Mandir, Delhi
File:Rani padmini.png|Rani Padmini (or Padmavati) was a legendary queen & wife of King Rawal Ratan Singh of Chittor (Mewar). Rani Padmini was known mostly for her exceptional divine beauty and wisdom
</gallery>
==See also==
{{commons category}}
{{wikiquote}}
* [[Rani Karnavati]], another queen of Chittor who is also said to have committed Jauhar
* [[Krishna Kumari (princess)|Krishna Kumari]], a Rajput princess who drank poison to save her dynasty in 1810
* [[Devaladevi]], a princess of Gujarat whom Alauddin's son Khizr Khan married after the local ruler's defeat

== References ==
===Notes===
{{Notelist}}

===Citations===
{{Reflist|30em}}

===Bibliography===
{{refbegin}}
* {{cite book |author=Aditya Behl |title=Love's Subtle Magic: An Indian Islamic Literary Tradition, 1379–1545 |url=https://books.google.com/books?id=PK7riKO6IN8C&pg=PA177 |year=2012 |publisher=Oxford University Press |isbn=978-0-19-514670-7 }}
* {{cite book |author1=Catherine B. Asher |author2=Cynthia Talbot |title=India Before Europe |url=https://books.google.com/books?id=ZvaGuaJIJgoC&pg=PA41 |year=2006 |publisher=Cambridge University Press |isbn=978-0-521-80904-7 }}
* {{cite book |author=Jason Freitag |title=Serving empire, serving nation: James Tod and the Rajputs of Rajasthan |publisher=Brill |location=Leiden |year=2009 |isbn=978-90-04-17594-5 |url=https://books.google.com/books?id=Ib93BhAu43gC }}
* {{cite book |author=Kishore Valicha |title=The Moving Image: A Study of Indian Cinema |url=https://books.google.com/books?id=tGgm0z6vthYC&pg=PA124 |year=1980 |publisher=Orient Blackswan |isbn=978-81-250-1608-3 |page=124 }}
* {{cite book |editor=Rajendra Ojha |title=Screen World Publication presents National film award winners: 1953–1997 |url=https://books.google.com/books?id=wgEbAQAAIAAJ |year=1998 |publisher=Screen World |page=107 |isbn=9788190025829 }}
* {{cite book |author=Ramya Sreenivasan|author-link=Ramya Sreenivasan |title=The Many Lives of a Rajput Queen: Heroic Pasts in India C. 1500–1900 |url=https://books.google.com/books?id=GiSUwULkK64C |year=2007 |publisher=University of Washington Press |isbn=978-0-295-98760-6 }}
* {{cite book |author=Ratnabali Chatterjee |editor1=Madhusree Dutta|editor2=Flavia Agnes|editor3=Neera Adarkar |title=The Nation, the State, and Indian Identity |url=https://books.google.com/books?id=clVkXbbcrhIC&pg=PA39 |year=1996 |publisher=Popular Prakashan |isbn=978-81-85604-09-1 }}
* {{cite book|author=Lindsey Harlan|title=Religion and Rajput Women: The Ethic of Protection in Contemporary Narratives|url=https://books.google.com/books?id=7HLrPYOe38gC|year=1992|publisher=University of California Press|isbn=978-0-520-07339-5}}
* {{cite book |author=Ram Vallabh Somani |url=https://books.google.com/books?id=NcIBAAAAMAAJ |title=History of Mewar, from Earliest Times to 1751 A.D. |publisher=Mateshwari |year=1976 |oclc=2929852 }}
* {{cite book |author=Shiri Ram Bakshi |title=Architecture in Indian sub-continent |url=https://books.google.com/books?id=mEU3AQAAIAAJ |year=2008 |publisher=Vista |isbn=978-81-89942-73-1 }}
* {{cite journal |author=Subimal Chandra Datta |title=First Saka of Citod |journal=The Indian Historical Quarterly |volume=7 |editor=Narendra Nath Law |url=https://archive.org/details/in.ernet.dli.2015.33115 |year=1931 }}
* {{cite book |author=Syama Prasad Basu |title=Rise and Fall of Khilji Imperialism |url=https://books.google.com/books?id=Qw4dAAAAMAAJ |year=1963 |publisher=U. N. Dhur }}
* {{cite book |editor=V. K. Agnihotri |title=Indian History |url=https://books.google.com/books?id=MazdaWXQFuQC&pg=SL2-PA86 |publisher=Allied |isbn=978-81-8424-568-4 |year=2010 }}
{{refend}}

{{DEFAULTSORT:Padmini, Rani}}
[[Category:Mewar dynasty]]
[[Category:Legendary Indian people]]
[[Category:Indian queen consorts]]
[[Category:History of Rajasthan]]
[[Category:Rajputs]]
[[Category:14th-century Indian women]]