After a long
hectic schedule, this Sunday I spared some time in reading an interesting play “Hayavadana”
by Girish Karnad.
Girish
Karnad’s plays have always fascinated me. Last year, got a wonderful chance to
see Karnad’s “Nagamandala” performed
by college students during Youth Festival 2015. Click here to read the review
of the play.
Girish
Raghunath Karnad (born 19 May 1938) is an Indian actor, film director, writer, playwright
and a Scholar, who predominantly works in South Indian cinema. He rise as a playwright in 1960s, marked the
coming of age of modern Indian playwriting in Kannada, just as Badal Sarkar did
in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi. For four decades Karnad has been
composing plays, often using history and mythology to tackle contemporary
issues.(Wikipedia)
Some of his
well-known plays are “Hayavadana”, “Tughlaq”
, “Nagamandala” and many more.
The plot of
Hayavadana comes from Kathasaritsagara, an ancient collection of stories in
Sanskrit, but Karnad borrowed this theme from Thomas Mann’s retelling of the
story in the Transposed Heads.
Karnad’s
play poses a different problem of human identity in a world of tangled
relationships. The play opens with the closest friends Devadatta and Kapila – ‘one
mind, one heart’. Devadatta, a man of intellect, and Kapila, a man of body.
Their relation gets complicated when Padmini marries Devdatta. Kapila also
falls in love with Padmini and she too gets attracted towards him. The friends
kill themselves in a scene and Padmini transposes their heads, giving Devadatta Kapila’s
body and Kapila Devadatta’s body.
This results
in a confusion of identities which reveals the complex nature of human
personality. Devadatta and Kapila suffers identity crisis and incompleteness.
The sub-plot
of Hayavadana, the half horse man, deepens the significance of the main theme
of incompleteness.
Karnad uses
the conventions and motifs of folk tales, mythical aspects, folk theatre –
masks, dolls, curtains, and the story-within-a-story – to create a strange
world. It is a world of incomplete individuals, indifferent gods, world
indifferent to the desires and frustration, joys and sorrows of human beings.
The horse in
the play symbolizes the powerful, but monotonous rhythm of life.
Here we can
also refer to Existentialism. The absurd way of life and, how we give meaning
to everything meaningless around us. Existentialism implies the quest of the
individual for the assertion of the self despite his limitations and failures.
In the play, identity and impersonation have been played up leading to
conflicts between the mind and the body. (Bala) The theme also reveals the Upanishad
principle that visualizes the human body as a symbol of the organic
relationship of the parts to the whole.
In India’s
cultural and socio context, mind is given more importance. It is reflected
through Devadatta’s dialogue in the play,
“According
to Shastras, the head is the sign of a man.”
Karnad represents India’s past socio- cultural
practices like Sati when Padmini commits Sati in order to prove her chastity,
which was a tradition in olden days. Padmini reflects ‘Sita’ and actually all
the women.
Karnad
reveals the religious feelings prevalent in our society, by showing the
presence of Goddess Kali. Hayavadana begins with an prayer of Lord Ganesha, who
is generally worshipped first among the gods. In the beginning, Devadatta
worships Kali in order to win Padmini’s hand for marriage. Later, he offers
himself to the goddess by beheading himself and his friend Kapila follows suit.
The Hindu rituals and superstitions are very well portrayed by showing people
offering themselves to Kali. This was a practice that was followed a few eras
back. Now people offer goats and animals to Goddess Kali, who is also known as
the goddess of Destruction.
Karnad
presented a cocktail of issues such as love, identity and sexuality with folk
culture and his imagination. Karnad provides us with a sight of the past as
well as its significance of understanding the contemporary world.
Works Cited
Bala, Vaishnavi. merinews.
07 01 2010. 10 10 2016
<http://www.merinews.com/article/hayavadana--a-tale-of-love-identity-and-sexuality/15793428.shtml>.
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