On her own suggestion, Madhavi was successively married to three kings for a fixed period of time: Haryyashva of Ayodhya, Divodasa of Kasi, and Ushinara of Bhoja, in exchange for the horses they had.

Though not as prominently known as other female figures in the Mahabharata, Madhavi's story remains a poignant example of the complex roles women played in the epic traditions of India.

[1][2] In the context of Mādhavī's story, her name may carry symbolic significance related to fertility, sweetness, or desirability, aligning with her role in the narrative as a figure who is passed between different kings for the purpose of bearing children.

For instance, in Old English, "medu" refers to mead, and in Ancient Greek, "methy" (μέθυ) signifies wine or a strong drink, underscoring a shared Indo-European heritage of associating sweetness and intoxication with themes of fertility and desirability.

This connection is further enriched by comparing Mādhavī with Medb, a queen from Irish mythology whose name also derives from a root meaning "intoxicating" or "mead".

[1][2] Distraught by the enormity of the task, Galava contemplates suicide but is saved by the sudden appearance of Garuda, the divine eagle and mount of the god Vishnu.

Madhavi bears Haryashva a son named Vasumanas (renowned for being exceedingly charitable), and after the birth, she regains her virginity and returns to Galava.

Madhavi returns to her father, Yayati, who arranges a swayamvara (a ceremony where a princess chooses her husband from among assembled suitors) for her at confluence of Ganga and Yamuna.

[1][2][7] Description of her life as an ascetic is attested in the Mahabharata in detail: Reducing her body by means of fasts of various kinds and religious rites and rigid vows, she adopted the deer's mode of life And subsisting upon soft and green grass-blades, resembling the sprouts of lapis lazuli and which were both bitter and sweet to the taste, and drinking the sweet, pure, cool, crystal, and very superior water of sacred mountain-streams, and wandering with the deer in forests destitute of lions and tigers, in deserts free from forest-conflagration, and in thick woods, that maiden, leading the life of a wild doe, earned great religious merit by the practice of Brahmacharya austerities.Yayati, after ruling for thousands of years, ascends to heaven but eventually loses his standing due to pride.

[1][2] The story concludes with the god Brahma explaining to Yayati that his downfall was due to the dangers of self-pride, a lesson that Narada uses to caution Duryodhana.

[1] Several scholars and academics have assessed the myth of Madhavi, presenting various critical examinations of its complexity and the implications it has for understanding the treatment and perception of women in ancient Indian literature.

Dumézil highlights the structural similarities between Madhavi and Medb, suggesting that both figures represent archetypal roles of female sovereignty and fertility in their respective cultures.

Women like Madhavi were central to rituals of hospitality and exchange, where their value was often tied to their ability to reproduce and secure alliances through marriage or other forms of union.

This systemic objectification is part of a larger cultural and ritualistic framework where women's primary role was to facilitate the transfer of wealth, power, and lineage continuity among men.

[9][1] According to Danielle Feller of the University of Lausanne, Madhavi's story is unusual in the Mahabharata because it involves the clear violation of the accepted dharma, especially concerning the treatment of women.

Feller notes that Madhavi, despite being the central figure in a narrative where she is exchanged among multiple kings, remains emotionally detached from the men who seek to possess her.

[1] Indologist and Mahabharata scholar Pradip Bhattacharya, on the other hand, presents a nuanced view that challenges simplistic interpretations of her story as merely an instance of male exploitation or commodification.

Bhattacharya emphasizes that Madhavi herself proposes the plan to be passed between the kings to help Galava fulfill his obligation, indicating that she is not merely a passive victim but an active participant in the events.

Therefore, the "usage aspect" of Madhavi is a result of her own proposal to save Galava, rather than something forced upon her, since she could have chosen to stay with the first king, Haryashva, by keeping the secret of her boon hidden.

Bhattacharya thus underscores the importance of understanding the internal dynamics and psychological make-up of these female characters, rather than dismissing their stories as mere instances of male control.

[8] Professor Lavanya Vemsani critiques modern interpretations of Madhavi's story, highlighting that such readings often misrepresent her character by emphasizing her sexuality or portraying her solely as a victim of male desire.

Initially, Madhavi is depicted as a passive figure, fulfilling the obligations of others—particularly her father and Galava—through marriages to four kings and the bearing of children, all while remaining a virgin due to a divine boon.

Vemsani argues that this choice signifies a profound assertion of agency, enabling Madhavi to reclaim control over her life and challenge the patriarchal structures that have previously dictated her actions.

Despite this assertion of independence, Vemsani notes that Madhavi's accomplishments are frequently met with silence in the epic, underscoring the gender biases that devalue women's sacrifices in contrast to the accolades received by male counterparts such as Bhishma.

Nevertheless, Vemsani posits that Madhavi's narrative subtly challenges patriarchal ideals by emphasizing the significance of daughters—a theme often overshadowed by the preference for sons in Hindu mythology.

While Yayati is restored to heaven, the narrative also hints at broader concerns about the sustainability of patrilineal lines, with Madhavi's contribution being both essential and yet not fully aligned with traditional expectations and diverging from the conventional male-centered approach.

[1] The concept of Mrigacharini has broader connotations, indicating a life of renunciation and penance, akin to that of a deer which lives freely in the wilderness, away from human civilization.

According to Feller, the closest equivalent in the Dharmasūtras might be the vaikhānasa mode of life, a subtype of the vānaprastha (hermit), which involves living in the forest and subsisting on minimal resources.