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In yesterday's episode, Vip has not only returned from his home, but also returned the trappings of adolescence in the form of the ball, etc. The ball really symbolises the ball and chain of infantalization of Vip by his family. The infantalization by the Tripathi family of Vip serves 2 purposes: First, it makes DT and Kanak --dominant personalities-- able to be in control at all times; and, second, it ensures that Vip is protected from their wily ways and double standards, not so much because he should be kept unspoiled, but because his nature is that of a renegade and a whistle blower. DT and KT know full well that if Vip were to find out their wily ways of being in the world, not only would he cut off all connections with them, but would also expose them in front of the society by urging them to repent and correct their ways.
Vip's self-styled exile is not without its risks, from the patriarch's standpoint. There is the danger that he will grow up and see through Dasharth's double-dealings. Therefore he should be handled with kid-gloves. In an interesting paradox, DT is still infantalizing VIp. His manner, his tone, etc are indulgent towards Vip because he knows that there is no option left but to agree with his grandson's decision. In upholding Vip's decision to go back to the ashram, DT has a lackadaisical, yet calculating air of choosing his battles, much like an argument-weary father allowing his stubborn adolescent son to camp in the back-yard even though he has a cold. However, I feel that DT is defeated. Beneath the over-confident aura, he is insecure.
In a nice parody of the Ramayana, Vip, the modern Rama, leaves his father (?) figure, Dasharath, to go to the forest life symbolized by the ashram of the widows. The modern Rama is passionate, and like his ancient counterpart, a lover of what is right and correct. Technically speaking, the modern Dasharath has two wives, not three, but we must metaphorically count Kanak as the third, as she strives to be DT's equal in every way, and also languishes for his attention and approval. While ancient Ayodhya was a bustling kingdom of righteousness and festivities, the modern Ayodhya, meaning, the unconquerable one, is a miserable mansion, an empty citadel and a hotbed of sedition, intrigue, and lust for power. Ayodhya, Dasharath's mansion has stories to tell, but the walls will remain silent rather than champion what is correct. Dasharatha of the Ramayana was a truthful dharmic person, whereas the modern Dasharath is wily, two-timing, and contriving. In fact, despite his monicker, he also represents the demonic being, Ravana. Sushma Dadi is Kaushalya, the first wife of the ancient Dasharath, and the mother of Lord Rama. Although technically Kanak is the mother, Sushma has done all the mothering of Viplav, in the sense of teaching him values that count. Kanak (who, like her ancient counterpart, Kaikeyi also has two "k"s in her name) the modern version of Kaikeyi, gives the real Kaikeyi a run for her money. Kanak is quintessential and conniving, a woman of high ambitions and expectations. Like the ancient Kaikeyi, Kanak will not allow her son to be who he is; instead she wants to mold him according to her own agenda. Durga represents Sumitra, the third wife of Dasharath, who in the Ramayana, has twins --Lakshmana and Shatrughna. Tripurari, is both Lakshmana and Shatrughna. Face-to-face with the patriarch and his family, Trip is like Lakshmana, an embodiment of filial duty and sacrifice. Behind the scenes, he seethes with the anger, and the evil twin (not that Shatrughna was evil) comes out --a totally different personality that is in keeping with the name, if not the character, of Shatrughna, which means "the slayer of enemies."
The widows represent the vanara-sena, the army of humanoids (monkey-like) that will help the modern Rama unmask and vanquish Ravana. Like the vanaras, the widows are loyal but misunderstood subjects, who areshunned by the society.
With this backdrop in mind, let us see how the plot thickens.
Vip's self-styled exile is not without its risks, from the patriarch's standpoint. There is the danger that he will grow up and see through Dasharth's double-dealings. Therefore he should be handled with kid-gloves. In an interesting paradox, DT is still infantalizing VIp. His manner, his tone, etc are indulgent towards Vip because he knows that there is no option left but to agree with his grandson's decision. In upholding Vip's decision to go back to the ashram, DT has a lackadaisical, yet calculating air of choosing his battles, much like an argument-weary father allowing his stubborn adolescent son to camp in the back-yard even though he has a cold. However, I feel that DT is defeated. Beneath the over-confident aura, he is insecure.
In a nice parody of the Ramayana, Vip, the modern Rama, leaves his father (?) figure, Dasharath, to go to the forest life symbolized by the ashram of the widows. The modern Rama is passionate, and like his ancient counterpart, a lover of what is right and correct. Technically speaking, the modern Dasharath has two wives, not three, but we must metaphorically count Kanak as the third, as she strives to be DT's equal in every way, and also languishes for his attention and approval. While ancient Ayodhya was a bustling kingdom of righteousness and festivities, the modern Ayodhya, meaning, the unconquerable one, is a miserable mansion, an empty citadel and a hotbed of sedition, intrigue, and lust for power. Ayodhya, Dasharath's mansion has stories to tell, but the walls will remain silent rather than champion what is correct. Dasharatha of the Ramayana was a truthful dharmic person, whereas the modern Dasharath is wily, two-timing, and contriving. In fact, despite his monicker, he also represents the demonic being, Ravana. Sushma Dadi is Kaushalya, the first wife of the ancient Dasharath, and the mother of Lord Rama. Although technically Kanak is the mother, Sushma has done all the mothering of Viplav, in the sense of teaching him values that count. Kanak (who, like her ancient counterpart, Kaikeyi also has two "k"s in her name) the modern version of Kaikeyi, gives the real Kaikeyi a run for her money. Kanak is quintessential and conniving, a woman of high ambitions and expectations. Like the ancient Kaikeyi, Kanak will not allow her son to be who he is; instead she wants to mold him according to her own agenda. Durga represents Sumitra, the third wife of Dasharath, who in the Ramayana, has twins --Lakshmana and Shatrughna. Tripurari, is both Lakshmana and Shatrughna. Face-to-face with the patriarch and his family, Trip is like Lakshmana, an embodiment of filial duty and sacrifice. Behind the scenes, he seethes with the anger, and the evil twin (not that Shatrughna was evil) comes out --a totally different personality that is in keeping with the name, if not the character, of Shatrughna, which means "the slayer of enemies."
The widows represent the vanara-sena, the army of humanoids (monkey-like) that will help the modern Rama unmask and vanquish Ravana. Like the vanaras, the widows are loyal but misunderstood subjects, who areshunned by the society.
With this backdrop in mind, let us see how the plot thickens.
Shiv Shakti
Ye Hai Mohabbatein
CID
