The act of revisiting the past is similar to responding to texts that exist in a particular culture. As this culture is constantly evolving, so is the understanding of the text. The socio-cultural changes brought about over time lead to the revision of ancient texts because there is often the possibility of a new meaning. One myth that resurfaces time and again in Indian literature is the myth of Savitri. This particular text (“The Ballad of Savitri”) attempts to look at the subversive elements of the original myth. The central idea of ​​this essay is that in the poem "The Ballad of Savitri" by Tory Dutt, Savitri is shown as a woman of free will despite conforming to patriarchal norms and carrying out her duties within the parameters of a dogmatic society. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Toru Dutt was one of the poets who, like Derozio, did not reach maturity. There were some problems with his works. Much of his poetry was an imitation of the English poets, and this was quite evident. If one were to apply the author-centered approach to this text, this element would emerge over and over again in the poem. There are many romantic elements in his poems and “The Ballad of Savitri” is no different. However, it is interesting to note that through these romantic elements, Toru Dutt actually writes about a legend, psychologizing its human aspects. While Savitri's story feels a little too glorified at times, overall it captures the essence of the main narrative and gives it new meaning. The excessive delineation of nature, as well as the romanticization of certain events (such as death), are some key elements that Toru Dutt tends to take from the West. What this does to the text has been debated by scholars over time, but the poet's tendency to imitate the West is an idiosyncrasy of hers. In the context of this poem, Savitri and Satyavan, through these romantic elements, are shown as having an unbreakable bond. They seem to be fighting cosmic forces, and it is Savitri's sheer will that defeats the forces. So, this is a completely different take on the story. The title of the poem is very significant in the context of this poem. Unlike the popular myth, called “The Myth of Satyavan and Savitri”, Satyavan does not figure in the title of this poem. This itself seems to be a kind of transgression. In the way that the role of many women is denied in patriarchy, Satyavan's role in this myth has also been denied. The title gives a very powerful meaning to the rest of the poem. Just like the poem, the title gives action to Savitri without crossing the lines. The poem is divided into 5 parts, each part a beautiful segment that tells a part of Savitri's life. It is in the last parts that Yama appears. The structure of the poem suggests fluidity and continuity. In the first part, Toru Dutt talks about Savitri's childhood: "The stern warriors, when they saw her, smiled, as the mountains smile at the sight of spring." The poet uses hyperbole effectively to talk about Savitri's beauty. In this part (Part I), the poet actually establishes that Savitri is a woman of beauty. However, it does not describe her as a woman of substance. However, among these verses an interesting line has been lost: “In those distant primeval days the daughters of fair India were not buried in closed zenanas.” In these verses the poet has actually taken a political position. It attempts to question the social condition of women in India, and herein lies the beauty of this poem. It serves as a subtle critique of the dominant social assumptions of patriarchy that.