The role of disguise in
relationships between men and women is neither new nor simple to understand.
When women in literary works take on a disguise, it is largely to
manipulate the opposite gender, which suggests both the power of the masculine
as well as the subordinate perception of what is feminine. Femininity is
overtly sexualized, which can be a distraction from objectives and even
potentially dangerous to the woman. Somadeva's work, "The Red Lotus of
Chastity" from Kathāsaritsāgara, is one such example of the use of
disguise. Women conceal their true identities multiple times in order to
manipulate situations and achieve their desired goals.
For the heroine of the story, this
is done for restorative justice and to protect her chastity--both of which are
sympathetic reasons to the reader. The nun and her pupil, however, use disguise
for diversion or personal gain. The first introduction to women in disguise
comes from Yogakaraṇdikā’s recount of how she and her pupil amassed great fortune. Her
protégée posed as a servant and upon gaining the trust of her employer, stole
his wealth. She then tricks those who chase her through additional deception,
eventually escaping with the great wealth. Though suspicious, a drummer who
follows her, upon learning she plans to commit suicide, assists her in tying
the noose. Rather than showing concern for her plight, the drummer is in favor
of her choice. Such as unusual reaction to admission of planned suicide
emphasizes the nature of relationships between men and women; they are
transactional in many ways. For this reason, as the perceived weaker sex, women
use deception and disguise.
The nun implements disguise in her
attempts to tarnish Devasmitā’s reputation.
When four men learn of the lotus and chastity pledge, they travel to the nun
seeking to test Devasmitā. The nun disguises
herself to gain Devasmitā’s trust
and tells stories which normalize promiscuity. Yogakaraṇdikā advises "I carried on with other men as I pleased, to
avoid frustrating the sense and element. Our highest duty, you know, is to
yield to the demands of sense and element" (Somadeva 1277). While a nun is
typified as a pillar of morality, in disguising herself, Yogakaraṇdikā
avoids this schema to appear conspiratorial or more relatable. Her story is
intended to encourage Devasmitā to give in
to sensuality, but instead prompts Devasmitā to become guarded. A disguise is then implemented when one
of Devasmitā’s maids
assumes her identity to greet the man sent by Yogakaraṇdikā. These men are then branded, which can be concealed but
never fully disguised.
The final deception occurs when Devasmitā
poses as a merchant to travel safely
to her husband. Not only does this offer protection for her virtue, but also
places her into a role of power. She approaches the king and requests to speak
to the people, where she reveals the insidious plot of the merchants’ sons. It
is only in this disguise that Devasmitā is fully able to expose and shame the four men, who
previously concealed their brands with turbans. While disguised as a man, Devasmitā
is able to act in public which also
indicates the social perception of men as leaders and public figures, versus
the domestic sphere of women. In the public revelation of the plot, Devasmitā
also gains recompense, in receiving “a
large ransom to free the four from bondage” (Somadeva 1279). The role reversal
of being in control of the men’s lives suggests the power initiated in the
masculine disguise; while in the guise of a man, she lays claim to them as her slaves
and sites their brands as proof.
Works Cited
Somadeva. “The Red Lotus of Chastity”. Kathāsaritsāgara. The Norton Anthology of World Literature. Gen. ed. Martin Puchner.
3rd ed. Vol. 1. New York
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