The Dice, the Drag, the Divine

Draupadi’s Reflection

They played the game. And lost.
Gold. Livestock. Brothers. The self.
And then — me.

I was not in the sabha when the dice fell.
A messenger came and said I had been lost.
I asked, “Did Yudhishthira lose himself before he lost me?”
There was no answer. I refused to move.

Another messenger came. Still, no answer.

Then came Dushasana.
Leering. Gloating. Smirking.
He came not to speak, but to seize.
He was Duryodhana’s hand — exultant, vicious, unrestrained.
His face gleamed with triumph.
He dragged me by the hair — This was not duty but desire —
a moment long awaited,
to drag me, to break me, to show me where I belonged.

The Drag

I, the queen, was dragged to the sabha — as a wager.
Dushasana guffawed,
eyes blazing with triumph.
He caught my hair and flung me to the floor.
The queen of Indraprastha, pulled like a slave before her husbands.

They thought I would bow.
That silence was a woman’s fate.
But I was not silent.
I questioned. I resisted.
And in doing so, I broke more than their moment of triumph —
I broke the illusion that dharma was still alive in that hall.

The Faces of Silence

I looked around the assembly — faces once familiar, now turned away.

Bhishma — the grandsire who could have stopped it all.
No warrior alive matched his strength; no council dared overrule his word.
Yet he stood still — not because he did not see the wrong,
but because his vow bound him to the throne, not to dharma.
He had promised to serve whoever ruled Hastināpura,
and in keeping that promise, he broke the greater one — to his own conscience.

Dhritarashtra — the blind king who saw only his son.
In him, love had turned to weakness, and weakness to sin.
He had once dreamt of the crown denied to him by his blindness,
and now he lived that dream through Duryodhana’s defiance.
He heard my cries — and chose silence,
for a father’s pride was dearer to him than justice.

Vidura — the voice of dharma in a hall that had forgotten it.
He spoke, calling the act vile,
but Duryodhana stung him with one word — dasi-putra.
In that court, truth without power was silenced.

Drona and Kripa — teachers turned servants of the crown.
For Drona, his words carried little weight;
Duryodhana had long accused him of favoring Arjuna.
And perhaps it was true —
he had once demanded Ekalavya’s thumb
to preserve Arjuna’s pride.
Loyalty and guilt warred within him now,
and both kept him silent.
Kripa stood beside him —
faithful, voiceless, uncertain which side held dharma.

Karna — born of the sun, yet living in shadow.
He struck not with sword but with scorn.
He called me unchaste, not out of judgment, but revenge —
revenge for the wound of rejection that had never healed.

My husbands
five men of valor, five hearts bound by shame.
Yudhishthira chained by vows,
Arjuna and Bhima smoldering but still,
Nakula and Sahadeva silent, disbelieving.
Bound by rules. Bound by helpless filial love.

The Humiliation

Dushshasana turned to Duryodhana and said,
“She is ours now — let her sit on your lap!”

The hall burst into cruel laughter —
a sound that hung heavy in the air like smoke.
Duryodhana smirked and slapped his thigh.
“Let her sit here,” he said, pointing to his lap.

I turned to the elders once more.
To Bhishma, to Vidura, to Dhritarashtra.
I pleaded. I questioned. I cried.
And for a moment, I still believed
that someone — anyone — would rise. But they lowered their eyes.

I saw the helplessness of the wise
when they stand before power without truth.
And I saw in Duryodhana's gesture
the hand of every silence that had allowed this moment.

Dushasana began to pull at the single garment I wore,
tearing through every law of decency,
every code that once held this world together.

The Divine

That was when the truth struck me —
no vow, no throne, no elder would protect me.
All that stood for dharma had turned into shadow.

So I let go —
not of myself,
but of the belief that I could be owned.
In that moment, stripped of all pride and protection,
I called to the one truth left to me.

Krishna.

And then — cloth upon cloth,
a miracle that no hand could stop.
As Dushasana pulled and gasped,
the garment flowed endless as faith.

The laughter died.
The hall fell silent.
And I stood — untouched,
wrapped not in fabric,
but in grace.

The miracle was not in the fabric —
but in the return of my own strength.
Krishna had not come from outside.
He had risen within.

The Aftermath

Dhritarashtra trembled.
Blindness met its limit.
He restored what had been lost,
and gave me boons —
my husbands’ freedom, their honor, their life.

That day, I saw:
Dharma does not live in kings or laws.
It lives in the heart
that refuses to surrender to injustice.

And when that heart calls with faith,
the divine answers —
not from above,
but from within.

End

Comments

  1. This comment has been removed by the author.

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  2. It is so real. I felt that every scene is happening in front of my eyes. The language is so good and apt for this classic!

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  4. Amazing! The first person narration takes one right into the Duriyodhana’s Royal court where the vile act is unfolding right in front of the wise, the virtuous, the strong and mighty who stand in mute silence unable to stop the shameful deed, by various factors in total frustration, despite theirs souls squirm in shame.
    The final appeal to made to the divine one, doesn’t go unanswered. One can feel the intense anxiety that descends on those present, even though they all know about the divine intervention that is about to come about. Lord Krishna doesn’t strike down the villain with dramatic lightning, thunder or any other form of violence, which he could have done with a mere thought. Instead he comes to Dhraupati’s aid by adorning her with an endless stream of vastra.
    He left the act of revenge to the to rightful hands of Bheema, who’s rage tore open the viscera of Dushshasana after tearing out his arms.
    Even in his kindness shown to Dhraupati, Krishna didn't deprive Bheema of his revenge.
    A thrilling scene translated excellently

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    Replies
    1. Thank you, Srini1951.
      I love the tales of Mahabharata because it is timeless and contemporary. Anything which is timeless has to convey what is true at all times; necessarily, it builds up layered depth where one can pause and explore what is said or left unsaid. That said, the underlying philosophy in the entire Mahabharata is the confrontation between dharma and swadharma : what should be one’s rightful action at a decisive moment; can you define your own swa-dharma or must you necessarily follow dharma at all costs. Krishna followed dharma at all costs, even let it hurt himself in the end because even he is not immune to the effects of Karma. Bhishma followed swa-dharma. This is what comes out in some of the stories i have written and will be writing in the future.

      Krishna is enigmatic, but practical at the same time. He acts behind the scenes and only when the actors don’t perform well, does he jump in to establish his end vision. Bhima performed his act well at Kurukshetra, so he didn’t have to jump in. Yudhishtra and others had their own swa-dharma during the dice game: so he had to jump in to establish dharma.

      I also take this opportunity to let all the readers know: this story and whatever comes under the “stories from Mahabharata” option in the blog menu are entirely my own and have not been translated from any other source. The episodes in the other menu item alone are those that was telecast by SUN TV channel and only these have the translated script.

      Thank you for all the encouragement and support.

      Delete

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