The Themes Of Hayavadana In Naga-Mandala

Mr. Kapasi found a growing affection for Mrs. Das when she expressed that his job translating for patients, which he thought of as a sign of his failings, was actually romantic to her. Mrs. Das began as an inattentive passenger in his tour to the Sun Temple who paid little attention to her kids, husband, and sights around her. She and Mr. Kapasi warmed up to each other while discussing Mr. Kapasi’s other job and tourist attractions. Mr. Kapasi was flattered by this woman who he deemed attractive and in an ill-suited marriage. Because of the new-found intoxication with this women who showed genuine interest in him, he even began to doubt his own marriage with his thoughts, “He wondered if Mr. and Mrs. Das were a bad match, just as he and his wife were,” (Lahiri 53). Both Mr. Kapasi and Miranda began to enter into controversy with their new relationships with partners who made them feel cherished while staying oblivious to other concerning factors in the growing relationships.

Mahasweta Devi’s short story, “Giribala,” is about the life of Giribala, a girl of Talsana village located in India. Born into a caste in a time when it was still customary to pay a bride-price, Giri is sold to Aulchand by her father. From this point on, we see a series of unfortunate, tragic events that take place in Giri’s life as a result of the circumstances surrounding Giri’s life. There are many issues in Giri’s life in India that Devi highlights to readers. First, the economic instability of the village leads to an extremely poor quality of life for the lower, working classes. Next, the cruel role of women determined by men in society is to either satisfy the sexual desires of men or to reproduce offspring who can work or be sold off to marriages. There are also other social norms and beliefs which discriminate against women that will be discussed.

Ramayana, translated by William Buck, is an ancient Indian epic telling the story of a prince named Rama who fights against his adversary, Ravana. Although there are many important female characters throughout the book, they are often seen as subordinate to their male counterparts where intelligence and strength are concerned. One character who proves this stereotype wrong is Sita, Rama’s wife, who often shows that she has the capacity of being just as powerful as the men of the story. By being more mindful than most people around her, Sita defies the expectations that many characters have placed on her. Sita lets the reader see another side of women’s power and shows us the strength that women could have. The reason that Sita proves to be powerful is that she seems to have an understanding of the deeper meaning of her life; precisely the quality that men don’t expect her to have.

My Story is the replica of Kamala Das’s psychosexual structure in patriarchal society. Das begins to write when she is admitted in hospital after a serious bout. My Story is the revolutionary product of patriarchal society as it breaks the canonical rules made by patriarchal society. In patriarchal society women are not treated as human being but treated as sexual object.Theyare forced to represses their sexual desire for outer goodness. Das presents herself as the revolutionary figure and reveals her psychosexual growth from her childhood to adulthood.

In response to the curious child’s queries about the conditions of the women around them, the grandmother usually narrated a story appropriate to the occasion instead of giving a direct reply. The parallels and the mythological equivalents had a profound impact on the mind of Devi. The story of Gandhari was narrated to Devi when she inquired about the veena in her mother’s photograph. When Sita, Devi’s mother came to the house of her in –laws, she had brought a veena with her and used to play on it when she found leisure. Her father-in-law once admonished her for neglecting her duties and questioned whether she was really a wife and a daughter-in-law. In the extended Hindu family, a bride’s position was primarily that of a daughter-in-law and not that of a wife. The in-laws and other family members viewed the nearly arrived bride with suspicion even as she grappeled with the new situation and tried hard to come to terms with herself in the changed

Indian literature written in English language has its base n the myth that has been passed on from generations. Like many Indian English writers writing in English Girish Karnad is of no exception. In his writings the mythological aspects echo throughout. His plays like ‘Hayavadana’, ‘The Fire and The Rplay hain’ and ‘Nagmandala’ are based on the myths but Karnad gives an approach to myth in a different way. His plays originate from the myths of Indian legends but in the course of the play hee insert some of the acts which make us rethink about depending on God, especially through the man-God encounter acts.

Girish Karnad has successfully represented the mythical belief through the play, but paradoxically it gives the contemporary relevance too. The characters only represent the types in the society. The position of Rani in the play can be seen as a metaphor for those young married woman whose husband plays two different roles during day and night. The play can be studied from the feministic point of view which is an important discussion in today’s society. The playwright has successfully presented the female subjugation at the hands of patriarchal power which is a contemporary social reality.

Sakuntala and the Ring of Recollection and The Red Lotus of Chastity are two Indian stories that depict the different gender roles in the culture at that time. Sakuntala follows the story of a young girl who marries the King that has declared his love for her. When he leaves her with promises to return, she is cursed that her love will no longer remember her. In Red Lotus, the story centers on Devasmita and her fight to keep her marriage vows and her husband safe. These are two similar stories of love with drastically different women protagonist that bring to light the gender roles expected of men and women.

A person stifled by his aging father's ideas, finds a manner to get away, with the intention to create an alternative global to be able to permit him to exercise the only element that he loves the maximum- dancing. The play plots around a middle aged couple Jairaj and Ratna wanting their daughter Lata to follow in their footsteps and become a Dancer. The play itself showcases the real picture of human relationships and human weaknesses. Among many such problems is the question of gender illustration that has brought into relief by way of situating it into the complicated shape of Indian own family machine, which upholds the father as master of the house. A look at Dattani’s Dance Like a man consequently need to be definitely profitable when studied through the prism of gender and its nuanced presence in the Indian

Women characters, Aai, Vahini, Anjali and Ranju are shown at the receiving end. Hearth and child is what they have to look after. Prabha, the daughter in the family, is the tragic sufferer of male dominance. She is denied education because she is a woman. However, she rises as a rebel and rejects the proposal of marriages brought to her. She wants an educated husband; wants to learn; wishes to earn on her own. Prabha, thus, represents an urge of Indian woman for emancipation challenging the male orthodoxy. Her appeal to her mother in private arouses sympathy for her. She says, “Let me get out of here, Aai. This wada will devour me. I feel so stifled in this darkness. Let me go to Amravati” (Elkunchwar 56). Ranju is not allowed to go outside for taking her English tuitions because “Deshpande girls don’t run around to people’s houses” (Elkunchwar 32). Top of all, Aai is shown to have borne the brunt of patriarchy. First, her husband muted her voice; afterwards she became dependent on her sons. It refers to the very common situation for women in

Kamala Das’ poetry tends to explore the man-woman relationship where she tries to uncover and subvert the politicized patriarchal representation of gendered identity. She openly revolts against the traditionally accepted womanhood concepts in the Indian society, and urges the women not to pretend like a nympho that makes them a puppet of masculine world. She raises her voice against the norms of society which want female to fit into the traditional framework. The frankness with which Kamala Das depicts her personal relationship about love, sex, loneliness

His mother’s silence meant different for Mohan and he regarded it as virtuous and symbol of strength but for Jaya her silence means suffering and despair. The silent suffering of Mohan’s sister, Vimala because of ovarian tumour gives a different meaning to silence. More than her husband her mother-in-law exploited her for this. She has to bear all and at last died.

In Marathi folk tradition the Sutradhar introduces the play and greets the audience and then goes off the stage. But Ghashiram Kotwal, being a combination of classical, folk, and modern form, the sutradhar stays on the play from beginning to the end. Tendulkar’s brilliant fusion of Bharata’s Lokdharmi and Natyadharmi makes this play one of a kind. It is one such play where the Sutradhar can comment or even directly talk to the audience, or stand by silently as a spectator. The role of the Sutradhar is played by Haridasa in the play. He is an actor and a commentator. The Sutradhar comments on the incidents rhythmically. And it is followed with the last rhyming words by the Brahmin line. The play is truly an innovative experiment that offers a new direction to modern Indian Theatre due to Tendulkar’s

It is observed that Manju Kapur’s women characters resembles to the real women of contemporary period. The present day women too, have to suffer and struggle a lot in their search of self-identity in the traditional society. The women became the silent sufferer many times to avoid more humiliation and mal treatment. The violence and social discrimination against women made women’s life too thorny to walk easily. The World Health Organization reports that prevalence of violence against women in their lifetime is 16% to 50% and at least one in five women

On the third narrative level, there is the tale tale told by one of the Flames who wants to be forgiven for arriving late. Her tale is about a woman who knew a beautiful story but refused to tell and share it with other people. One day, that story taking advantage of the fact that the woman was sleeping with her mouth open, escapes and is transformed into a young lady and the song that accompanies it turns into her beautiful sari. The story thus personified on the fourth narrative level relates the life of Rani, the main protagonist of Naga-Mandala. It also shows the male difficulty to trust and love women, it seems to be about the socialization process of both men and women, particularly in the Indian society, where marriages is more often than not the first experience of sex and love for most people. In a folk tale, there is a magician or a snake that assumes the form of the Prince, enters the palace and woes the beautiful Princess, locked up in the palace. When the Prince becomes aware of this, he gets the snake/ magician killed and the Princess then sets him a riddle. If he fails to answer, he has to die. This existential crisis is treated in the folk tale in different