The genre of mythology and folklore are difficult to distinguish asmentioned by H.R. Ellis Davidson, who states, “Both myth and folkloreare terms notoriously difficult to define.” However, a general differentiationmight be attempted in the Indian context, where the prevalence ofmythology in the centre as well margins of human society is an acceptedphenomenon, whereas folklores have remained in the margins for along time. What intrigues the most in the collusion of mythology andfolklore are certain novel creations such as in the Ramayan byChandrabati. This work is significant on multiple grounds, the primaryof which is the fact that no other known record exists of a womanattempting the re-creation of an epic poem before Chandrabati. One ofthe significant aspects of his creation is the inclusion of the Baromasha(song for 12 months) in her Ramayan. This formative recalibration ofone of the most well-known epics of the Indian subcontinent deserves anextensive evaluation considering the signification of such ingeniousapplication of a folk element in the structuring of a mythologicalnarrative. This article intends to shed light on the brilliance of theconcoction of mythology, folktale, gender and revisionism as witnessedin the brilliance of Chandrabati’sRamayan, which serves as a precursorof feminist revisionist narratives in the Indian context.
Bhattacharya et al. (Thu,) studied this question.