The setting of “Draupadi” by Mahasweta deals with the peasant rebellion in the Naxalbari area of ​​northern West Bengal in 1967. The tragedy of exploitation of landless farmers in India, and particularly in West Bengal is predominant. The story of the uprising starts from the analysis and indigo farmers to the Naxalbari explosion. The people near Naxalbari in North Bengal are mostly tribal: Medi, Lepcha, Bhutia, Santhal, Orang. The zamindars broaden the habits of paddy seed bait, team of oxen, a handful of rice and a paltry wage. In return, they reap the lion's share of the harvest, at the expense of the backbreaking labor of landless workers. In the Great Bengal Famine of 1943, people starved and died in front of well-stocked grocery stores. A peasant differs from a landless laborer in terms of his ownership position cultivating his own land. Migrants and landless lower classes like Dopdi or her husband Dulna Majhi are forced to work for minimum wage; they are not fighting for larger academic issues. They are struggling for the bare minimum to survive. The focus of these movements was the long-standing oppression of landless peasants and itinerant agricultural workers, sustained through a clash between unofficial government and landowners. The Indian government managed to suppress the rebellion with exceptional brutality against the Naxalites, destroying the rebellious sections of the rural population, especially the tribal ones. Throughout history, political class struggle is observed. From this surveillance “Drupadi” contains both the class struggles and the predominantly male-dominated ideologies existing in Third World countries. Dopdi Mejhan, twenty-seven years old, is on the list of...... half of the document ...... from, Mahasweta implies the social statues of Gangor as, Semi-famine condition... The mobs of Gangor came to Jharoa looking for work. They will work on piecework in light brick and tile kilns. When Upin and Ujin arrived, they had already been living there for two or three months. Gangor's health was fine... Upin took a photo when he saw the baby sucking: Gangor did not object. But she held out her hand... money, sir, rupees? Take a photo, then give me the money! Ujan was shocked. Upin crumpled up all the money in his pocket and gave it to him. (1997: 141) It states the poverty surrounding Gangor's life puts his life in danger. She works as a contract laborer to secure her livelihood but because of Upin's reckless image of her “The half-naked, ample-breasted female figures of Orissa are being raped. Save them! Save your breasts!” it made his life a violent and drastic change.