However just days before the happy event, Jayananda met a beautiful Muslim girl on the river bank, converted to Islam and married her. The families found the match very agreeable and a date for their marriage was fixed. The couple met in a garden and fell in love. The story of Chandravati and Jayananda goes like this. It is about how bereft the kingdom of Ayodhya, of which Sita is queen, feels on her accompanying Rama to exile and the implications to her world when doom befalls Lanka where she is imprisoned. Her narrative moves away from the masculine themes of war and Rama’s story to that of Sita’s, and the events that impinge her life. Chandravati has the distinction of expanding the scope of pala gaan from the narrow and domestic to universal concerns of tragedy that envelopes an entire society. Folk narrative keeps to the basic story of the Ramayana but departs from it in the details. The work belongs to the genre of folk narrative, pala gaan or ballad which originated in the eastern districts of Bengal, presently Bangladesh. The difference in her Ramayana is its unique female perspective.
Her Ramakatha is but one of the many that have been narrated and written in India and its neighbouring lands over centuries. Chandravati wrote a woman-centric version of the Ramayana in the late 16th century, although left incomplete.
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