What Is The Structure Of Fire And The Rain By Karnad

Chapter one of The Power of Myth articulates the purpose of myths in our world today. Moyers begins with the simple question, “Why myth?” Campbell responds that mythology “catches you” and provides clues to the questions that concern mankind.

Girish Karnad is one of the foremost playwrights of the contemporary Indian stage. He has given the Indian theatre a richness that could probably be equated only with his talents as an actor-director. His contribution goes beyond theatre: he has directed feature films, documentaries and television serials in Kannada, Hindi, and English and has played leading roles as an actor in Hindi and Kannada art films, commercial movies and television serials. He has represented Indian in foreign lands as an emissary of art and culture.

One of the groups of definitions falls under the category of the historical-philosophical definition. The first definition of myth in this category is the etymological definition. This definition stresses the falsity of the deity or event or thing being described. The second is the sociological-theological definition where the truth is seen as relative and something is considered true if it is seen as true by others. The third is the literary definition. These kinds of definitions claim to make no value judgment about their material. The events are not seen as right or wrong and the narrative makes use of symbolism to express it meaning.

There are in the novels of Narayan two kinds of Malgudi, the city Malgudi and the nature Malgudi. They may be compared to Shakespeare’s court life and the pastoral life. Let us discuss both kinds of Malgudi.

In Rabindranath Tagore’s play, Raktakarabi (Red Oleanders, 1924), set in an imaginary town called Yakshapuri ruled under capitalism, minorities are dehumanized and exploited into becoming a source of gold digging machines by a brutal King whose ever growing obsession with wealth had turned him despicable until salvation became apparent in the hands of a woman named Nandini. Nandini is the protagonist and the King is the antagonist of the play. Yakshapuri in Hindu mythology is referred to as the abode of the god of its hoard of treasure. In the play, the King symbolizes the oppressor of both humans and nature by fear and power and Nandini symbolizes the nature that restores its equilibrium by shaking everything into its righteous place by beauty, love and strong character. What’s left in between are the oppressed: the miners along with their families who are undoubtedly and hopelessly stuck in a rollercoaster where their freedom is nowhere to be apparent. Tagore shows his concern over the materialistic industry-oriented mentality of men and the lust of controlling the resources of the earth as well as the inhabitants by exploiting, estranging and circumscribing the underdogs.

The Greek dramatists have bequeathed immensely to the current mode of modern Western literature. Shakespeare and his contemporaries revered them for their distinct and explicit language, their dramatic scenes, and their extravagant processions. The language of their stories has connoted itself into both, the Western dialect and Western literature in general.

The Ramayana is more than just a religious text. While it is blatantly rooted in Hindu culture and practice, a myriad of lessons and points from the Ramayana apply to human life on a much more general scale. Narayan’s piece portrays the complexity of human relationships, moral decisions, and the blurring lines between what is considered ‘good’ and what is considered ‘evil’. Numerous elements of the Ramayana exemplify these common themes but it is particularly noticeable in the relationships between siblings. Rama and his brother Lakshmana have a deep, yet sometimes morally contrasting, relationship while Ravana and Vibishana represent another side of the moral spectrum and brotherly conflict. The four of them together embody the complications of both dharma and sympathy, and the universal prominence of conflict between brothers.

Myths are moral stories containing transitional experiences taking into account genuine pride and otherworldly plunge, given to the starts entering Tribal Societies. Myths contain stories of bravery to empower the youthful through learning to acknowledge the obligations that would characterize their lives as grown-up people. For example Myths of Hercules and Myths of Zeus. Myths gave the youthful learning that would fill their lives with significance and reason, bringing on in them an otherworldly quality that would never fall flat them in times of need. Myths are stories of confidence, which open the eyes of everybody to truth and empower them, to end up who they genuinely are. Myth is learning that holds the ability to dissipate all supernatural quality and puzzle. Supernatural quality and Mystery were brought on by the a huge number of years of interest and intrigue submitted by enlightened men to construct individual realms, deluding other men of the theoretical significance of civilisation through misnomer, the task of wrong names to nonsensical ideas that make others mistake misrepresentation for truth, and misdirect others by dishonestly speaking to dangerous

Great attentions pay to cultures and religions is an important factor determines the events to happen. The events in the play are happened

Focusing on another genre of Indian English literature, I move on to bring to the fore the development of drama. India has the longest as well as the richest tradition in drama. It existed during the age of Vedic Aryans, under the British rule and after independence, this genre gained great prominence in the field of literature. It is this genre which was largely influenced by the movements of 20th century i.e. Marxism, Psychoanalysis, Symbolism and Surrealism. “According to a legend, when the world passed form golden age to silver age, people started getting addicted to sexual pleasure and jealousy, anger and desire. Then gods, demons, yakshas, rakshas, nagas inhabited the whole world. At that moment, lord Indra requested God

His mythical magnificence adds fuel to the poetic flames of a number of poetry lovers in India and abroad. The mythical superiority of his poetry becomes a literary infantry for the crown of mythical samarat in Indian English poetry.The mythical essence of his poetic flamers approves the crown of mythical monarch in Indian English poetry . He is the founding father of Indianised version of sonnets in Indian English poetry . Indian and western mythical episodes that brings to light the cultural senesce justify the crown of the mythical samara of Indian masses in general and choudhary in particular.The mythical and cultural prosperity of his poetry that elicits the supremacy of Indian mythical messiahs justifies the crown of the mythical messiah in Indian English

The play is set in an imaginary town called Yakshapuri. (In Hindu mythology, the divine force of riches guidelines over the city of this name), the play presents a society in which the storing of gold demands strict discipline and a stratified class structure based on the prevention of human rights. He had denounced the standards of organization for utilitarian purposes, which subjugates the individuality of people and turns “a multitude of men . . . into a gigantic system”; the passion of greed among colonial powers, “stalking abroad in the name of European civilization,” and humiliating subject races; and the impersonal attitude in modern humanity that transforms

Before the violence came to its full swing, the dramatist prepares the ground for th prevailing tension. The meeting between king Bijjala and Basavanna ended in fiasco with regard to any solution between them as Bijjala asked him to leave Kalyan. Basavanna finally leaves Kalyana and comes to Kappadi of the meeting rivers. Jagadeva is stirred by the message of Basvanna for waging war against the social injustice and the violence breaks out in the city of Kalyan. Jagadeva comes to the place of Bijjala and kills him and he also commits suicide. The last scene of the play brings forth the wrath of the orthodox people of high caste and thus the drama of Tale-Danada ends in terror and blood shed. The figural coufigurations created the psychic turmoil which helped one political party during 1989 while this monolithic unity of Hinduism brought onslaught to another. Aparna Dharwadkar in her introduction to The collected Plays of Girish Karnad analyses the signs and signifiers of subtle political system that encountered the ideologies of two political movement in 1989: Mandir and Mandal:

Greek plays heavily feature tragic events and personal dilemmas which each protagonist must individually face. This paper will mainly focus on the tales of Oedipus and of his daughter Antigone and how they each face a moral crisis when the truth is unveiled. Our protagonists are faced with many challenges along the way which arise due to them wanting to do the right thing. Oedipus wants to uncover the problem that is causing the plague in Thebes but the answers he discovers are fatal. Similar to Antigone whose personal integrity leads to her demise as well as all those around her. She is ruled by her conscience and her actions create a domino effect that leaves the king, Creon, alone and heartbroken. Greek tragedies revolved around the audience knowing the plot twist and it amused them to see how the characters acted when met with their fate.

Myth can be defined as a traditional story, usually concerning some hero or event, which have or have not a base of a true fact or an explanation, especially the stories that concern with deities and that which explain some ritual practice or phenomenon of nature. Myths also contribute to and express the systems of thought and values of a culture. It can also be regarded as a product of man’s imagination and emotion acted upon by his