The Palace of Illusions by Chitra Banerjee Divakaruni is based on the Indian epic Mahabharata, originally written by the sage Ved Vyas. In this novel, the story is narrated from Panchali’s point of view, who is also known as Draupadi, the daughter of King Drupad. The novel captivates readers from the very first chapter, titled ‘Fire,’ which beautifully recounts the story of Draupadi’s birth.
The early chapters of this book focus on Draupadi's childhood, highlighting her close bond with her twin brother, her father, her Dai Maa, and her friendship with Lord Krishna. Draupadi's relationship with Krishna is beautifully portrayed. She confides in him, seeks his advice and opinions, and asks him questions she couldn't ask anyone else.
Imagining an epic like Mahabharat from a woman’s point of view is an act of courage in itself. Mahabharat. It is one of two great Indian epics. Some say it is THE epic.
"With its philosophical depth and sheer magnitude, a consummate embodiment of the ethos of not only India but of Hinduism and Vedic tradition, the Mahabharat's scope and grandeur is best summarized by one quotation from the beginning of its first section:
"What is found here may be found elsewhere. What is not found here will not be found elsewhere."
This quotation rightly sums up Mahabharata, within which one finds myriads of relationships, stories and events."
At its core, the epic tells the story of a great war fought between two branches of the same family—the righteous five brothers known as the Pandavas and their cousins, the hundred brothers known as the Kauravas. However, this epic is far more than a tale of war; it holds immense religious and philosophical significance.
Chitra Banerjee Divakaruni offers a fresh perspective on the Mahabharata by presenting it through Panchali's eyes, telling the story of a princess destined to change the course of history. The Palace of Illusions is a beautifully written and moving retelling, focusing on Panchali, the Pandavas, and the Kauravas, and it honors the legacy of the Mahabharata in a unique way.
But this in turn leads to a good question: can one really distill the essence of something as long and convoluted as the Mahabharat in less than four hundred pages? For individuals seeking an introduction to the Epic, would this book be recommended? Does the author understand and justify the importance of The Palace of Illusions in the history of Bharat?
Here lies the concern with modern so-called Itihas writers: they often write with their own interpretations to make the story more engaging, leading readers like us to believe that this is the true account. Regardless of how beautiful the idea may be, the author clearly failed to grasp that The Palace of Illusions is not merely mythology—it is a fact, a history built from the stones of reality. History is meant to be recorded as it happened, without being twisted or altered.
Although Draupadi's intellect, strength, and level of power and thoughtfulness are unmatched by any other woman, it is important to acknowledge that her portrayal in the book does not do justice to her true character. The depiction provided falls short of accurately reflecting Draupadi's profound qualities and the depth of her historical significance.
Draupadi, our protagonist, otherwise known for her unparalleled passion, valor, and beauty, doesn't seem to emotionally mature beyond her twenties. The only things she appears to care about are finding romance and having an extravagant palace of her own—she never stops talking about it. While there's nothing inherently wrong with these desires, if the main character's ambitions stop there, it doesn't make for a compelling retelling. To be fair, she is also excited about 'changing the course of history' (as prophesied), but she takes no active steps to make this happen. She merely waits for others to guide her and tell her what to do, which they don't because she is expected to fulfill her 'womanly duties.' She passively accepts everything that happens to and around her, never challenging the status quo.
At times, the story doesn't delve as deeply into Panchaali's life as one would expect from a narrative both by and about her. If the author had explored the past lives of Shikhandi and other characters, providing reasons for their actions, it would have been fitting to include Draupadi's past life as well and explain why she was destined to marry five husbands.
The most debatable aspect is the supposed Karna-Draupadi love angle. These feelings are not part of the original Mahabharata. There is absolutely no evidence in the Mahabharata to support these claims. None of the known Sanskrit manuscripts or translations, including those by Gita Press and KMG, contain any verse implying this relationship. This myth originates from 'reimagined,' 'retold,' or 'creatively adapted' works based on the epic. There was no romantic connection between Draupadi and Karna—there isn't a single hint of Draupadi showing any interest in him. She did nothing that lends credence to the idea that she was attracted to Karna or anyone else besides the Pandavas. Instead, in the Mahaprasthān Parva 2.6, when Bheem questions Draupadi's fall on their final journey to heaven, Yudhishthir responds, 'Though she was married to all of us, she loved Arjun more.' The book took it too far by making Draupadi blame herself for what happened to Karna, which, for me, ruined the story.
Rather than adding unnecessary spice to the book by unrealistic romance the author could have used that space for explaining historical importance and other minute but pretty important details about the characters, this approach would have enhanced the book’s authenticity and made it more accessible to readers unfamiliar with the Mahabharata. Rather than portraying Draupadi as a modern day feminist, stuck in a stereotypical society her portrayal could have more accurately reflected her true essence as a mature and complex woman of her time.
What many readers often fail to recognize is that this is not the Mahabharata or a scholarly analysis of the epic. The author has taken creative liberties, presenting a condensed version of the great epic mixed with her imagination.
However, what the author clearly failed to grasp is that these books serve as modern-day gateways to our culture, and discussing heroes like Karna, Bhishma, the Pandavas, and the Kauravas comes with immense responsibility. One cannot—and should not—twist historical events merely to sell copies. We are talking about people who dedicated their lives to duty and honor, living with utmost austerity. A warrior like Karna, so devoted to righteousness, should not be misrepresented as being involved in an improper relationship with his younger brother's wife.
What the author has clearly failed to grasp is that these books serve as a contemporary gateway to our cultural heritage, and discussing heroes such as Karna, Bhishma, the Pandavas, and the Kauravas carries significant responsibility. It is neither appropriate nor acceptable to distort historical events merely to sell copies. These individuals were bound by duty and honor, and their lives exemplified austerity and sacrifice.
Similarly, a woman like Draupadi—unmatched in her power, individuality, and self-reliance even with five husbands, and who changed the course of history—should not be portrayed as someone whose life revolved around a man who wasn’t even her husband. Presenting Karna, a figure renowned for his unwavering adherence to principles, in a context that contradicts his core values is not only misleading but also disrespectful. Accurate and respectful representation is essential to preserving the integrity of these historical figures. This approach, however, demonstrates a blatant disregard for the historical and cultural significance of these legends and contributes to a distortion of our rich heritage.
These books serve as carriers of our cultural heritage in contemporary times. They are read not only by the younger generation within our nation but also by readers from around the world. As custodians of this great legacy, we must exercise careful consideration before promoting or sensationalizing such literature online.
