"Lakshman" Poem by Toru Dutt

This is a blog task is a part of accademic work. In this blog I'll be dealing with the poem of Toru Dutt "Lakshman", with some of the interesting questions to deal with. 

Toru Dutt's Poetry

Toru Dutt, a remarkable poet, was a bridge between cultures and eras. Her poetry reflects the complexities of her identity, caught between Indian and European influences, Hindu and Christian beliefs. She skillfully blended these diverse elements, creating a unique literary voice.

In her famous retellings of Indian legends, such as "Sita," "Buttoo," and "Lakshman," Dutt breathed new life into ancient stories. She didn't merely translate these tales; she adapted them to English verse forms, infusing them with personal touches and contemporary themes. For instance, in "Buttoo," she added elements of class tension and rejection, making the story more relatable to her English-speaking audience.

Dutt's poetry also delved into her personal experiences and reflections on life. Poems like "Our Casuarina Tree," "The Tree of Life," and "Baugmaree" explore the interplay of cultures and religions in colonial India. In "Our Casuarina Tree," she contrasts the English landscape with the enduring memory of her childhood tree, highlighting her unique perspective as a poet straddling two worlds. Similarly, "The Tree of Life" blends Indian and Christian imagery, symbolizing the interconnectedness of different beliefs.

Dutt's first collection, "A Sheaf Gleaned in French Fields," showcases her multilingual abilities and her deep connection to nature. Her translations of French poetry reveal her Romantic sensibility, characterized by a fascination with the natural world and a sense of loss and longing. Unlike many Romantic poets, Dutt's portrayal of nature is multifaceted, reflecting her personal experiences and philosophical insights.

Beyond her cultural and literary significance, Dutt was also a pioneering woman writer. Her translation of Clarisse Bader's work on Indian women and her exploration of female experiences in poems like "Sita" highlight her feminist consciousness.

Toru Dutt's poetry is a testament to her extraordinary talent and her unique perspective. She seamlessly blended Eastern and Western influences, personal experiences and cultural traditions, to create a body of work that continues to resonate with readers today. Her legacy as a poet, a cultural bridge, and a feminist voice endures, making her an important figure in both Indian and world literature.

Lakshman

Toru Dutt's "Lakshman" is a poem that talks about a pivotal moment from the Hindu epic Ramayana. It focuses on the dialogue between Sita and Lakshman, highlighting Sita's growing impatience and frustration as she urges Lakshman to go to Rama's aid.

The poem begins with Sita expressing her concern for Rama's safety after hearing his voice calling out in distress. She questions Lakshman's inaction, accusing him of cowardice and even suggesting a hidden motive behind his reluctance. Sita's words are sharp and direct, revealing her growing anxiety and desperation. Lakshman, on the other hand, remains calm and composed. He assures Sita of Rama's invincibility and explains that he is protecting her as per Rama's orders. However, Sita's persistence and accusations eventually wear him down.

The poem reaches at peak when in the poem, Lakshman drawing the famous Lakshman Rekha, a protective line around their hut, before leaving to rescue Rama. This act symbolises his love and devotion to Sita, as well as his unwavering duty to his brother. The poem is a powerful and thought-provoking poem that offers a fresh perspective on a well-known mythological tale. It highlights the complexities of human emotions and the enduring power of love and duty.

Do you think the character of Sita portrayed by Toru Dutt in her poem Lakshman differs from the ideal image of Sita presented in The Ramayana?

Toru Dutt's portrayal of Sita in her poem "Lakshman" does differ from the traditional image of Sita presented in the Ramayana. While the Ramayana depicts Sita as an ideal woman, embodying virtues like purity, patience, and devotion, Dutt's Sita is more complex and nuanced. We can observe some differences which I'll be discussing below:

In the Ramayana, Sita is often portrayed as an almost divine figure, above human emotions and shortcomings. However, Dutt's Sita is more humanized. She displays emotions like anger, frustration, and a sense of vulnerability. Her dialogue with Lakshman reveals a woman who is not always patient and understanding, but also capable of expressing her discontent.While the Ramayana portrays Sita as a submissive wife, Dutt's Sita questions Lakshman's authority and his decision to leave her alone in the forest. She challenges his logic and expresses her fears openly. This challenges the traditional image of Sita as a passive figure who accepts her fate without question.

Dutt's Sita is not just a victim of circumstances. She is a complex character with a range of emotions. Her anger and frustration are understandable given her situation. She is not merely a symbol of virtue but a real woman with real feelings.Dutt's poem delves into the psychological depths of Sita's character. It explores her fears, anxieties, and doubts. This psychological exploration adds depth and complexity to her character, making her more relatable to the reader.

While these differences might seem to change from the traditional portrayal of Sita, they offer a more realistic and humanizing perspective. Dutt's Sita is not perfect, but she is relatable and believable. She is a woman who is struggling with her circumstances and trying to make sense of them. This portrayal challenges the idealized image of Sita and offers a more nuanced understanding of her character.

It is important to note that Dutt's interpretation of Sita is not a criticism of the Ramayana. Rather, it is a reinterpretation that reflects the changing times and evolving perspectives. By humanizing Sita, Dutt brings her closer to the reader and makes her a more relatable figure. This approach adds a new dimension to the understanding of the epic and its characters.

Write a critical note on Toru Dutt’s approach to Indian myths.

Toru Dutt, a 19th-century Indian poet, was a fascinating figure who straddled two worlds: the traditional Indian and the modern Western. Her work reflects the complex interplay of these cultures, particularly the influence of Christianity on her worldview and writing.Toru Dutt's approach to Indian myths is a fascinating blend of reverence and critical distance. She was deeply drawn to the rich tapestry of Hindu mythology, immersing herself in Sanskrit texts and reimagining these tales in English verse. Her "Ancient Ballads and Legends of Hindustan" is a testament to her profound engagement with these myths.  

However, her perspective is also shaped by her Christian upbringing and exposure to Western literary traditions. While she celebrates the beauty and power of these ancient stories, she does not shy away from critiquing certain aspects, particularly those that perpetuate social inequalities or gender stereotypes. Her retelling of myths often subverts traditional interpretations, giving voice to marginalized characters and challenging patriarchal norms.  

For example, in her poem "Savitri," she reimagines the myth of Savitri and Yama, highlighting Savitri's agency and intelligence. She portrays Savitri not merely as a passive figure but as a woman who actively challenges the forces of death and destiny. This reinterpretation aligns with her feminist sensibilities and her desire to challenge the limited roles assigned to women in traditional Indian society.  

Toru Dutt's approach to Indian myths is both respectful and critical. She recognizes the enduring power of these stories while also recognizing their limitations. Her retellings offer fresh perspectives and challenge conventional interpretations, making her a significant figure in the history of Indo-Anglian literature.

conclusion

Toru Dutt's approach to Indian myths reflects her unique position as a cultural bridge between East and West. Through her poetry, she brought new life and depth to well-known stories, blending Indian traditions with Western literary forms and themes. Her interpretations did not merely echo the original tales but reimagined them, highlighting voices and emotions that traditional tellings often subdued. Dutt's work, marked by feminist undertones and humanizing character portrayals, adds complexity to figures like Sita and Savitri, showcasing them as multi-dimensional women with agency and emotional depth.This dual approach allowed her to challenge the patriarchal and social norms embedded in these stories, making her interpretations resonate with modern sensibilities. As a result, her legacy stands as a testament to her ability to weave together cultural and literary threads, producing works that continue to inspire discussions on identity, gender, and the reinterpretation of tradition in contemporary literature.

Refrences

 https://www.britannica.com/topic/Sita

https://www.slideshare.net/slideshow/toru-dutt-biography/255141295

https://www.gradesaver.com/toru-dutt-poetry/study-guide/summary-lakshman

I hope this would be helpful,

Thank you.

"Nagmandala" by Girish karnad

Hello readers in this blog I'll be dealing with one of the mythical play i.e Nagmandala by Girish karnad, so let's dive into the play.

About the Author 

Girish Karnad whose time duration was from May 1938 to 10 June  2019. Was an Indian actor, film director, Kannada writer, playwright and a Jnanpith awardee, who predominantly worked in Kannada, Hindi, Tamil, Telugu, Malayalam and Marathi films. His rise as a playwright in the 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. He was a recipient of the 1998 Jnanpith Award, the highest literary honour conferred in India.

For four decades Karnad composed plays, often using history and mythology to tackle contemporary issues. He translated his plays into English and received acclaim. His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan, Amal Allanaa and Zafer Mohiuddin.

He was active in the world of Indian cinema working as an actor, director and screenwriter, in Hindi and Kannada cinema, and has earned awards.

He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards, of which three are Filmfare Award for Best Director – Kannada and the fourth a Filmfare Best Screenplay Award. He was a presenter for a weekly science magazine programme called "Turning Point" that aired on Doordarshan in 1991.

About the play:-

The play starts with a Prologue. A prologue is something that is attached before the main text of a book to introduce it. A man is sitting in a ruined, deserted temple. He has an apprehension that he is going to die in a few hours. A mendicant has prophesied that because as a playwright he has tormented his audiences with his arid plays, the curses of all those audiences have befallen him. If he wishes to live, he must stay awake for one full night before the end of the month. But all his efforts to do so has failed and this is the last day of the month. Hopeless, now he is assured that he will surely die tonight and therefore he has run away from his house to have an anonymous death. He swears in front of the audience that he will give up theatre forever if he lives.

Soon, he hears the voices of some women approaching the temple. However, he finds that the voices are coming from "naked lamp flames". These flames arrive there nightly to gather at this deserted temple and gossip till the night ends. One of the flames informs the others that an old lady had been keeping a story and a song secret for a while. The story and song were chocked because the old lady did not disclose them to someone. So, they came out of the lady's mouth when she was napping. The story turned into a young woman and the song became her colourful sari. While the flame was still chattering about the story, the story-turned woman also follows her into the temple. Story wants to pass on her story to someone and the flames agree to listen. But, it will go in vain as the flames cannot help the story survive by passing it to other people. The man interferes and expresses his consent to listen and even agrees, though reluctantly, to pass on the story. So, it is settled that Story will narrate Rani's story. The man and flames take their positions and Story starts speaking. Thus, the first act begins.

The Story starts her narration by introducing Rani, a beautiful, innocent and naïve girl, who was the only daughter of their loving parents. She had long black tresses that added to her charm. When she was still in her early adolescence, her father chose a suitable groom for her a young, wealthy but spoilt man called Appanna whose parents were no more. She was married to Appanna but was not sent with him until she turned into a woman.

The play opens at Appanna's house. Appanna has brought her bride to live with him as she has grown into a woman now. But, the married life of the couple is not pleasant. Appanna spends most of his time outside with his concubine, even nights. He turns back home only when he needs to have a bath or when he feels hungry. It can be said that Appanna has made an unpaid maid of her wife, Rani who took care of his household. When Rani tries to talk with her husband about her problems, he muffles her down saying, "Do as you are told." He locks her inside the house and goes away living an unrestrained life. Being lonely, Rani feels being cursed, misses her parents and dreams of getting back to them.

Rani's life becomes cyclic like a 'mandala' with no change in her situation, until a blind old woman named Kurudavva, who was like sisters to Appanna's dead mother, comes to meet her. Rani informs her about her misery. Kurudavva decides to help her to gain her husband's love and gives her two magical roots-one small and the other big. She instructs her to prepare a paste from the small root and feed it to Appanna. When Rani feeds the paste to her husband, he faints which terrifies her. Knowing this, Kurudavva asks her to go on with the bigger root. She prepares the paste again but when she glances at the blood-like texture and colour of the paste, she was horrified thinking that it may harm her husband. She decides to throw the paste into the ant-hill where Naga, a supernatural serpent lives. Naga, consuming the magical paste, is infatuated with Rani. At night he assumes Appanna's shape and visits Rani. He talks to her like a loving husband, caresses her and makes her sleep. Naga continues visiting Rani nightly and makes love with her.

Rani could not figure out the reason for Appanna's changed demeanour who behaves like a stranger in the day, but a lover at night. But she does not make any effort to solve this riddle because, despite Appanna's rude behaviour during the day, she was having a great time with him during the night.

Days pass and Rani becomes pregnant about which she informs Naga. But, Naga seems indifferent to the news while Appanna is infuriated to find that her wife has committed adultery. He beats her and decides to call the elders of the village to find the truth of her pregnancy. That night Naga admits that it is inevitable for Rani to evade the ordeal to prove her innocence. He proposes she choose the snake- ordeal to testify her chastity. He informs her that she needs to utter something in front of the elders that is not a lie otherwise the snake will bite her.

The next morning, Rani is brought to the elders with the villagers surrounding them. Among other easier ordeals to testify her innocence, she finally chooses to go through the snake-ordeal. Holding the snake in ber hand, she proclaims that since she came to to go through the snake-ordeal. Holding the snake in her hand, she proclaims that since she came to this village she has touched only two males-one is Appanna and the other is the Cobra that she was holding in her hand. Since technically this statement is true, Cobra doesn't bite her. It moves over her shoulder like a garland. Witnessing this miracle, the elders and the villagers declare her a goddess. The elders suggest Appanna spending the rest of his life in her service.


Story concludes her tale with a happy union of the couple. But, man remains unconvinced with this ending. He questions some unresolved complications in the narrative but Story tries to convince him saying that people often need to ignore things to lead a peaceful life. When Man asks about Appanna's lifelong misery, Naga's destiny and Rani's confusion about Appanna's changed behaviour during the day and night, Story changes the conclusion of the story. She continues her story. She continues her story with another resolution. She proposes a tragic ending for the story in which Naga sacrifices himself. Naga turns into a small serpent and gets into Rani's beautiful long tresses where he dies, probably choked. While combing Rani's hair, the dead serpent falls out. Rani and Appanna consent to ritually cremate the serpent.

However, the flames are not pleased with this tragic ending and ask Man to conclude the story happily. Man gives the story a happy ending in which Rani hides the small living serpent back into her tresses before Appanna could kill it. Rani allows the serpent to live in her tresses forever and says that her hair is the symbol of her wedded bliss.

Additionally, the Indian English dramatists chose the incorrect mythologies and complex historical past from the plentiful material. which was another grave error.

Myths and legends communicate through motifs and symbols, recurrent patterns of human behaviour, and archetypal human experiences. The myths' representations of archetypal social relationships These relationships could exist between fathers and sons, husbands and wives, or brothers. Second, even when we're not conscious of it, myths can influence us. By purposefully reverting to the rich history and parallel art forms made popular by folk theatre, Karnad sheds light on the enormous treasure trove that Indian dramatists can utilize. Karnad brings together the original and the true, the past and the present. The dreams and peaks of the past find parallels in the problems of the present, which lend fresh connotations and experiences through connection, so advancing the subject. Through the transcendence of space and time, myths provide fleeting insights into the mysteries of life. Myth plays a crucial part in expressing, developing, and codifying beliefs in prehistoric cultures; it supports and protects profound qualities, attests to the efficacy of customs, and provides insightful instructions for man's direction. As a result, myths are a crucial part of human civilization. It is not a random story, but a laborious, active force; it is not a creative or intellectual explanation, but rather a useful aspect of early faith and moral understanding.

A myth is a special kind of story that belongs to a certain genre and has a big impact on society. The main protagonists are frequently supernatural people. The word 'fantasy" is typically used to describe a story that is fantastical. According to Alan Dundes" definition of myths, "Myths are prose narratives that, in the society in which they're told, are considered to be veracious accounts of what happened in the remote history." Myth includes jokes and stories passed down orally in any society. It is a collection of made-up tales involving either people or animals. Superstition and unfounded beliefs are the core components of myth tradition, Girish Karnad is one of the most well-known playwrights in modern English drama. His plays frequently employ mythologies. He emphasizes the existence of people in the ground position in his plays. He worked as an actor, director, and screenplay in Hindi and Kannada movies. In acknowledgment of his enormous contribution to Indian literature, he received the Inanpith Award, the country's highest academic honor. According to R. K. Dhawan, Girish Karnad is the primary author of Indian theatre today. He has injected a rowdy energy into Indian theatre that is most likely due to his interests in acting and directing. His talents extend past the theatre. He has performed in prominent roles in art films, commercial images, and TV documentaries in Hindi and Kannada. He has also directed point films, images, and TV documentaries in English, Kannada, and Hindi. He has visited several nations in his capacity as an ambassador for Indian art and culture. Modern topics including the status of women in Hindu society, gender norms, patriarchy, coitus, violence, and rapacity are addressed in his plays. His characters highlight the seeming irony that is built into life as we know it. He picks the right words to express occasion and persona.

Girish Karnad's play Nagamandala exposes the exploitation of women in Indian culture. Rani and Appanna, a newlywed couple, are the main characters in this pastoral-therned novel. Rani has always been kept outside of society and is portrayed as a good

person. Appanna completely damns her life. He is taken in by a doxy and misses her attractiveness as a result. Rani, on the other hand, is a servant who resides in her own home. She complies with all her husband's requests. She adores her dictator husband dearly and is the picture of sincerity. She works up a sweat attempting to win her husband over, but in vain. She provides Kurudava love roots to help her win back her husband's devotion. She commands, "Enter Get to work grinding. Create a wonderful curry. Make a paste in it. If you allow him to have a tablespoon, he will become your slave. Rani inserts myth as a component when she adds Kurudava's love roots to the dish. After her initial attempt fails, she mixes the backup root and notices that the curry has gone blood-red. At the ant hills, she gives the curry to the King Cobra Naga, who licks it and falls in love with Rani. This is the pivotal moment in Rani's life. Naga changes into a person and enters Rani's home through the bathroom drain." This represents the merger of two sexual organs. He enters Appanna's bedroom, which is where Rani is. Naga picks a violent fight with the dog to show his love for Rani. Naga's love fully transforms Rani. According to Indian tradition, a woman is seen as an endowment of the land, and when the land is in trouble, a snake helps her out. Numerous stories about snakes are found in Hindu mythology. These creatures are acknowledged to be able to assume mortal form at will. In our Hindu culture, there are several depictions of the Naga. South Indian households frequently have their own refuge, which is typically a snake-infested wooded area in the theater's corner. At first, Rani is averse to having sex, but Naga convinces her otherwise, Naga gives her a lengthy speech. sexual relations, saying things like, "Frogs guaranteeing in projecting precipitation, turtles singing quietly in the dark, foxes, wrenches, underground insects, deceivers, wenches, drinks without a doubt the goose!" The womanly starts to smell moist like the ground. Additionally, the Lord Cobra starts searching for his Sovereign after being overcome by her odour. The creature calls out to his companion. It is spread throughout the entire world. He then informs her that coitus is normal and pleasurable and is not immoral. Rani yields to Naga and develops an intense desire for him. She starts to feel very secure within the Naga organization. Appanna accuses her of infidelity because she is carrying Naga's child. Her husband and every resident of the area force her to make a pledge while clutching a hot iron bar to defend herself. Naga appears to be her savior, moves up her shoulder, and spreads its hood over her head like a marquee. When Rani is shown to be trustworthy, the people start to worship her as a deity, leaving Appanna with no choice but to

study the situation carefully. According to Hindu custom, the husband of an adulteress is a cursed man. These conservative traditions have the effect of making women always in charge of their life. However, Appanna is also betraying his relationship with his wife by hanging around with a doxy, but he doesn't see anything wrong with that. adultery is stigmatized in Indian culture, and Karnad is the only author to have portrayed extramarital lady adultery with respect. Whatever the reason, women always play a role in malevolence. No guy is without flaws. The entire village and Appanna are after Rani, but only Naga saves her. A woman who appears out of nowhere and is originally seen negatively becomes revered by the people. She exhibits her virginity with the help of her nut Naga. The uncaring spouse of Appanna is left feeling helpless and inquires, "What shall I do? Is everyone on the planet against me? Is my interference so noteworthy that nature should mock me? She may have any phenomenon call her a goddess. Whatever the case, I am aware." As a result, the socio-artistic immoralities presented in Nagamandala are interwoven with legendary motifs. In the play, woman is shown to be obedient to a man's wishes in a traditional Indian society. Rani, on the other hand, has been given freedom by the cobra, allowing her to communicate her thoughts and feelings through movement, emotion, spirituality, and thought.

In the article entitled "Relevance of Myths in Contemporary Times: A Critical Study," the author describes: "The same kinds of tales and even the exact same tale can be found in myths from across the world. The similar explanation, consolation, and meaning- giving purposes are served by myths from all cultures, whether they be Indian, Chinese, European, African, or Native American."

At last, I would like to say that Girish Karnad is one of the most well-known playwrights in modern English drama. His plays frequently employ mythologies. He emphasizes the existence of people in the ground position in his plays. He deals with the modern topics including the status of women in Hindu society, gender norms, patriarchy, coitus, violence, and rapacity, myth and folk are addressed in his plays. His characters highlight the seeming irony that is built into life as we know it. He picks the right words to express occasion and persona. The play Nagamandala exposes the exploitation of women in Indian culture. Monitoring the fantasy and oral practices is made easier with writing and recording. Without this type of literature, almost all oral and traditional traditions would have been lost. The transmission and preservation of myths and oral traditions were most greatly influenced by Indian literature. India, the actual ancestors of this area, was once the pinnacle of all folk art. One example is Sama Veda, which is arguably the most enduring kind of folk music to date. To be true, if one considers Sama Veda to be rock society music, it is also the best and oldest music the world has ever witnessed. Numerous stories have been written down by scholars, saints, and authors to preserve oral traditions and myths, such as the Indian epics of the Ramayana and Mahabharata, the Buddhist Jataka tales, the Pancha Tantras, and Hitopadesha, the mediaeval Katha Saritsagarain, and the Jeremiah songs of the Bauls of Bengal.

Mythical Elements in the play

The middle and late nineteenth century saw many writers in colonial India, notably Michael Madhusudhan Dutt (Sharmishtha in Bangla), Annasaheb Kirloskar (Subhadra in Marathi), Vishnudas Bhave (who experimented with akhyan or verse narrations and Yaksha-gaan, a Kannada folk art form) struggle with this atemporal legacy, and begin to reorient myth and folklore towards negotiating contemporary Indian realities. As he avows himself, Girish Karnad' owes as much to this strain of "Indian' theatre history as he does to the psychological complexity and individualism of the European dramatic tradition. This sensitivity, then, to the cross-pollination of multiple dramatic traditions is crucial to any assessment of Karmad's position vis-à-vis Indian drama. It allows one to recognise the uniqueness of Karnad's dramatic vision and see him also as part of the post- independence 'modern' phase of Indian theatre, one where he shares space with Badal Sircar (Evam Indrajit).

The inexhaustible lore of myths, parables and legends that pattern and define our culture offers immense scope for the Indian dramatists as Shastri says, "Myth, at all events, is raw material, which can be the stuff of literature", Our early playwrights writing in English like Sri Aurobindo and Kailasam selected their themes from the myths and legends of Indian Literature. Though Karnad's themes appear to build castles in the air, he took refuge in the myths and legends and made them the vehicle of a new vision. His childhood exposure to street plays in Karnataka villages and his familiarity with western dramas staged in Bombay have induced him to retell the secular legends of India to suit the modern context. A vigorous vitality that combs the past for apt myths to analyze the present has been the hallmark of Girish Kamad, the pre-eminent Indian playwright in the Kannada language.


Karnad's creative genius lies in taking up fragments of historical-legendary experience and fusing them into a forceful statement. By using the 'grammar of literary archetype', Karnad links the past and the present, the archetypal and the real. Issues of the present world find their parallels in the myths and fables of the past, giving new meanings and insights reinforcing the theme. By transcending the limits of time and space, myths provide flashes of insight into life and its mystery. They form an internal part of cultural consciousness of the land, with different meanings and it reflects the contemporary issues. Karnad believes in the Jungian collective racial consciousness and so turns to the past habitually for the source materials. As Dhanavel says, the borrowed. myths are "reinterpreted to fit pre-existing cultural emphasis". All his plays are literary excavations of the Indian collective past the racial, mythical, legendary and the historical and they have a strong contemporary relevance. By using these myths he tried to reveal the absurdity of life with all its elemental passions and conflicts and man's eternal struggle to achieve perfection Vanashree Tripathy has said that "Literature and Myth merely dramatize, heighten and highlight what is theoretically possible in nature and science. According to Jyoti Sahi, "Girish Karnad's art can be described as a vision of reality". So, Karnad delves deep into the traditional myths to spell modern man's anguish and dilemmas that are created in his mind. Karnad does not take the myths in their entirety, he takes only fragments that are useful to him and the rest he supplements with his imagination to make his plots interesting. His interest was not in recreating old myths and legends but in representing them to suit his artistic purpose. Karnad himself has revealed that Theatre can simultaneously be entertainment, political commentary and artistic statement and can be composed in traditional, realistic and post modern forms.... Like masks worn by actors that allow them to express otherwise hushed truths, Indian theatre enables immediate, manipulative representations of reality.


The dramatist also attempts to instil an alienation effect by driving the material of the play from the folk tales, and also by using the 'non- materialistic techniques of the traditional Indian theatre. The title of the play is not the name of a human character, but it is that of a snake. As the name suggests, it revolves around a woman and a serpent. As this play is based on a folk tale it could be observed that the serpent plays an important role as in most such narrations all over the world. "We are forced to believe that there exists a theory that the mothers of great men in history such as Scipio, Alexander the great, and Augustus Ceasar were all impregnated by serpents"." It is believed that snake myths are found extensively in Brahmanism, Buddhism, Lamaistic and Japanese writing. In Naga- Mandala, the story of the cobra suggests that the play is intended to dramatize not merely the folk tales, but also to imply a deeper meaning at various levels. The folk-tale element of the Naga- Mandala and the magical power, which the cobra possesses continually, remind the spectators that they are only watching a play.

The play deals with a 'self-involved hero, who undergoes a test put to him by his wife in order to survive. The psychological inadequacy he is trapped in causes acute lack of understanding and communication between him and his wife. It is a threat to family and society. Every man through adolescence faces this existential problem and so he must leam to overcome and this becomes more comprehensive in Karnad's plays. Naga- Mandala is not only about 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. The transition from childhood into adolescence and then into adult roles has, in India, very different stages and psychological and cultural relationships are totally different from other less tradition-bound societies. The Naga-Mandala probes into the female and male growth into selfhood, and their mature adjustment with the social roles appointed for them by the traditional society.

Myths and folk tales in a patriarchal society represent primarily the male unconscious fears and wishes and are patriarchal constructs. and male-oriented. In these stories the women's experiences and inner feelings are not given importance. They do not probe much light on women's fears, anxieties and psychological problems. It is a remarkable achievement of Karnad that he adapts this male-oriented folk tale in such a manner that it becomes a representation.

In the alternate end to the play suggested by the playwright, the snake does not die. It is allowed by Rani to live in her dark, long and cool tresses. The lover is always present; he lives with her, within the family. The danger to male authority as a husband and patriarch lives on constantly at close quarters but mostly within the woman's. imagination. The dutiful and loyal wife may observe the social, moral code entirely; yet within her live the memories of the perfect lover who had given her first emotional and erotic experiences. These desires may haunt her or lie dormant within. Rani can understand emphatically why Kappanna, the young man, who was bound by filial duty to his old and blind mother, runs away one night. He had been pursuing his dream of a beautiful woman. Though he resisted the alluring voice and presence of the dream girl, he was trying to be a dutiful son carrying his old mother on his back. Finally he is pulled away when the dreams of the experience of man and woman in the psychologically transitional phase.

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 ways. In Kamad's play. the story takes a happy turn, both Rani and Appanna adjusting to the family and community in a socially useful manner. But this is achieved after upsetting the male egoism and exaggerated sense of power over women. The male assumption of keeping full control over the body, sexuality and virtue of women through the insinuations of family and values like chastity are mocked in the story.

Appanna's violent reaction to his wife's infidelity does not make him consider for a moment his infidelity towards her. The other villagers also ignore this lapse on his part but they emphasize the institution of marriage and the procreative function of the couple. The importance of the family and progeny are established. The husband and the wife run towards each other, with a greater sense of relationship. The girl-bride now becomes the mother to be and as such gains a social recognition. This stage of Rani's social integration brings her a new sense of respect and her own worth. This is another significant aspect of the Indian social and cultural life in its treatment of women.

In Kiranth's words, an Indian woman knows that motherhood confers upon her a purpose and identity that nothing else in her culture can". As a mother, Rani is seen in the last part of the story to be in command of the household with some authority and decision making power. 

Conclusion:-

Rani, who has been trapped in a loveless marriage with Appanna, finds herself in a unique situation when she unknowingly forms a bond with Naga, a serpent who takes the form of her husband. When her pregnancy leads to accusations of infidelity, she is subjected to the village's trial by ordeal—she must prove her chastity by holding the Naga without harm. Miraculously, the serpent does not bite her, and she is declared pure.

This divine test elevates Rani's status in society. She is revered as a goddess-like figure, and Appanna, who had mistreated her, accepts her as his wife. However, the Naga, heartbroken by her acceptance of Appanna, chooses to end its life in the anthill, solidifying its eternal love for Rani.

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Cultural Studies, Media, Power, and the Truly Educated Person

This blog is the part of thinking activity task assigned by Dr.Dilip Bard Sir. The motive behind this activity is to develop critical thinking and analytical skills by examining the surface of media, power, and education through the lens of Cultural Studies.For more detailed inquiry you can visit Teachers blog

Media and Power

Articulate the relationship between media and power in contemporary society. 

Media can be defined as the various channels of communication that convey information, news, entertainment, and cultural messages to the public. Power, in this context, refers to the capacity to influence or control behaviours, ideas, and political outcomes. The relationship between media and power is essential to understand because media acts as a tool for disseminating information and shaping public opinion, thus having significant social and political influence.

Media often serves as a powerful tool for those who own or have control over it, such as governments, corporations, or influential individuals. The control of media enables these entities to promote specific ideologies, control narratives, and maintain authority. This phenomenon is highlighted by political theorists and sociologists, Antonio Gramsci's Concept of Hegemony discussed how cultural hegemony allows ruling classes to maintain power by manipulating culture and creating a consensus through media and popular ideology. Media plays a crucial role in sustaining the controling social order by spreading messages that align with the interests of those in power.

 An example highlighted in the blog is how media ownership impacts the type of content that gets broadcast, demonstrating that narratives often reflect the interests of powerful groups. This showcases the influence media has in reinforcing the status quo and shaping public perception in subtle yet impactful ways.

Role of Education: the concept of "truly educated person"

Cultural studies is an interdisciplinary field that explores how culture is formed, transmitted, and perceived within society. It critiques traditional views of culture as being elite or widely read by incorporating everyday cultural practices and highlighting the influences of power structures. Matthew Arnold’s classical definition of culture as “perfecting what was best thought and said” contrasts with Raymond Williams’ broader view, which includes common life experiences. CS challenges power by addressing issues like gender inequality, racial representation, and media’s role in shaping beliefs and ideologies.

Media, in particular, serves as a powerful tool in contemporary society for reinforcing power structures, strongly influencing people’s perceptions and aligning them with dominant ideologies. The concept of partisanship describes how individuals align with groups based on shared beliefs, leading to conformity and cognitive dissonance, where one's reasoning adapts to fit group ideology. This phenomenon is expanded by media and social media algorithms that echo users beliefs, reinforcing biases. News channels, often influenced by ownership, can have strong information to serve political interests, demonstrating the profound link between media, power, and cultural manipulation.

In essence, it underscores the strong ways power operates through media, pushing people to align with specific ideologies and lose critical independence. This influence shows why education and media literacy are vital for discerning truth and maintaining individual thought.

Cultural Practices: as a tool for resistance against dominant power structures?

Cultural studies emphasises the complex web of power that influences societal norms through various mechanisms like media, economic power, and state policies. For example, workers of any goverment sectors are protesting against any scheme let's take pension or retirement scheme and the subsequent state response reflect how power operates through enforcement and regulation, as seen through media reports. Wealth exerts influence by not only controlling production but shaping laws and policies.

The state, through its constitution and regulations, guides societal behaviour, exemplified by startup-promoting policies encouraging business-focused mindsets. Social norms dictate public behaviour, celebration customs, and discourses around religion and politics, reinforcing power structures over time.

Michel Foucault’s idea that power and knowledge shape societal discourse is key here. Examples include established beliefs like caste system or raicism, ideas perpetuated through historical and media narratives. Noam Chomsky’s critique in Manufacturing Consent describes media as a tool for sustaining power by aligning public support with elite interests, maintained by ownership, advertising, and framing.

Chomsky notes that the media serves both an educated political class and the general populace, who largely follow norms without critical analysis. This aligns with Marx's and Fanon’s descriptions of the working and marginalised classes. Media’s selective focus often reinforces hierarchy, gender roles, or racial justifications.

Experiments and insights from videos illustrate how analytic abilities can be limited by ideological biases, highlighting the gap between traditional knowledge and media literacy. In this post-truth era, bias is prevalent, and critical thinking is essential. Fact-checking and challenging personal beliefs ensure that new information is approached critically, enabling coexistence with differing viewpoints. Self-reflection and the understanding that truths evolve over time are integral to genuine learning.

A truly educated person should embody the ability to question norms, seek deeper truths, and remain open to evolving perspectives, marked by resourcefulness and independent thought.

Critical Media Consumption

Noam Chomsky emphasises that true education involves independent inquiry and creative thinking, not just the absorption of classroom content. Drawing from Wilhelm von Humboldt’s philosophy, Chomsky suggests that education should focus on discovery and nurturing the skills to question conventional beliefs and explore new ideas. He argues that education should empower students to ask meaningful questions and seek answers on their own, building their capacity for critical thought and self-guided learning.

Chomsky also highlights the role of media, noting that media outlets are largely driven by corporate interests and profit, not the dissemination of unbiased truth. Media organisations are influenced by ownership and advertising revenues, prioritising content that boosts viewership and ratings (TRP) rather than objective truth. This means that even reputable sources like The New York Times operate within these constraints, shaping how people perceive history and current events to align with business interests.

Media's portrayal of events, often aimed at appealing to elites for financial gain, can distort reality. This corporate-driven nature of media creates an environment where information may be biassed or manipulated to serve commercial and political interests, making media literacy essential for recognizing potential biases in the information presented.

Chomsky's insights highlight that a truly educated person is one who approaches information critically, challenges norms, and remains aware of the media's role in shaping societal views. Such an individual is not confined by conventional thought and seeks diverse perspectives to cultivate a deeper, independent understanding of the world.

For more such critical thinking activities you can also visit HERE

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'Swami and Friends' by R.K.Narayan ( novel)

Hello readers, this blog is a part of my syllabus of Bachlore of Arts. Today in this blog I'll discuss about one of the novel by R.K.Narayan. Let's begin

About the Author:

Rasipuram Krishnaswami Narayanaswami, 1906 to 2001, better known as R. K. Narayan, was an Indian writer and novelist known for his work set in the fictional South Indian town of Malgudi. He was a leading author of early Indian literature in English along with Mulk Raj Anand and Raja Rao. Narayan's mentor and friend Graham Greene was instrumental in getting publishers for Narayan's first four books including the semi-autobiographical trilogy of Swami and Friends, The Bachelor of Arts and The English Teacher. Narayan highlights the social context and everyday life of his characters. He has been compared to William Faulkner who created a similar fictional town and likewise explored with humor and compassion the energy of ordinary life. Narayan's short stories have been compared with those of Guy de Maupassant because of his ability to compress a narrative.

Plot Summary:

The story revolves around Swami, a mischievous and carefree 10-year-old boy studying in Albert Mission School. He enjoys spending time with his close friends—Rajam, the son of a police officer, and Mani, a strong but lazy boy. Swami's life is filled with school troubles, playful mischief, and conflicts with teachers and parents.

As the story progresses, Swami gets into trouble at school for misbehavior and is eventually expelled. Meanwhile, political tensions related to the Indian independence movement also influence his life. His friendship with Rajam suffers due to misunderstandings, and towards the end, Rajam has to leave Malgudi, leading to a heartbreaking farewell for Swami.

Themes:

1. Childhood and Innocence

The novel captures the carefree and mischievous nature of childhood. Swami and his friends engage in playful activities, such as forming a cricket team and skipping school. Swami’s fear of teachers, especially his strict headmaster, and his exaggeration of small problems reflect the innocent perspective of a child. His tendency to escape difficult situations, like running away from home, highlights the impulsive nature of children.

2. Friendship

Swami shares a strong bond with his two best friends, Rajam and Mani. Mani is a tough but kind-hearted boy who often protects Swami. Rajam, the son of a police officer, is wealthy and disciplined, sometimes making Swami feel inferior. The novel explores the ups and downs of friendships—Swami’s misunderstanding with Rajam, his attempts to reconcile, and the final emotional separation when Rajam leaves Malgudi.

3. Colonial Influence

The novel is set during British rule in India, and the impact of colonial education is evident. Swami’s school, Albert Mission School, is run by strict British-influenced authorities who enforce rigid discipline. The teaching methods focus on memorization rather than creativity, which frustrates Swami. Political tensions affect students and families—Swami gets caught in anti-British protests, leading to his expulsion. There is a conflict between Western education and Indian values, which is subtly explored through Swami’s father’s expectations.

4. Family and Authority

Swami’s father is strict and expects discipline, while his grandmother is loving and indulges him. His mother is a silent figure, representing the traditional Indian housewife. His fear of authority, whether in school or at home, shapes his actions. Swami’s rebellious nature, seen when he refuses to go to school or runs away, reflects a child’s struggle against strict control.

5. Writing Style

R.K. Narayan’s storytelling is simple, direct, and filled with humor. The language is easy to understand, making the novel enjoyable for readers of all ages. He creates a vivid picture of Malgudi, making it feel like a real town. His use of irony and satire adds depth to the characters and events.

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T.P.Kailasam's "The Curse or Karna"

This blogmythological is a part of accademic work. In this blog I'll be dealing with one of the Kannada author i.e T.P.Kailasam's "The Curse or Karna", with some of the engaging questions to look upon.

About the Playwright

T. P. Kailasam (1884–1946) was a prominent Indian playwright and writer known for his contributions to Kannada literature and English plays. His full name was Thanjavur Paramasiva Kailasam. He is considered a pioneer in bringing a new wave of realism and social critique to Indian theater.

Kailasam is regarded as the "Father of Modern Kannada Drama." His plays often depicted the struggles of common people, infused with sharp social commentary and humor. He was also known for his plays in English, which contributed to Indian literature written in English.His works were known for their use of simple language, wit, and irony. He challenged established social norms and conventions through his plays, addressing issues like caste discrimination, gender roles, and social hypocrisy. His characters often resonated with the marginalized or those facing societal challenges. Famous Works areTollu Gatti (The Dummy), Bahishkara (The Outcast), Huttadalli Hutta (A Born Genius), Fulfillment, one of his English plays, depicting and social themes.

His plays were significant in shaping modern Kannada theater. His approach to addressing contemporary social issues in a relatable and thought-provoking manner influenced many later writers and dramatists in the Indian theater tradition. He often used mythological stories to critique society and its inequalities. He had a talent for reinterpreting traditional stories to highlight the struggles of common people and question the morality of established norms.

Is moral conflict and Hamartia there in Karna's Character?

Karna, known for his unwavering loyalty and generosity, is a character caught in a web of moral conflicts. His life is marked by a series of dilemmas that pit his sense of duty and honor against his innate sense of righteousness.

One of the most significant moral conflicts Karna faces is his loyalty to Duryodhana versus his knowledge of what is morally right. Karna is indebted to Duryodhana for accepting him when society rejected him due to his perceived low birth. This loyalty drives him to side with Duryodhana, even when he knows that Duryodhana’s cause is unjust and leads to widespread destruction. Karna's inner conflict emerges from his struggle to reconcile his gratitude and loyalty with the understanding that fighting for the Kauravas is not morally defensible.

Karna’s identity crisis adds to his moral conflict. Born to Kunti but abandoned and raised by a charioteer, he craves recognition and acceptance, leading him to make choices that complicate his moral standing. The revelation of his true heritage during the Kurukshetra war adds to his turmoil, as he realizes he is fighting against his own brothers, deepening his sense of guilt and inner conflict.

Hamartia, or the tragic flaw, is evident in Karna's unyielding loyalty and pride, which ultimately lead to his downfall. While loyalty is often seen as a virtue, in Karna’s case, it becomes his tragic flaw. His steadfast allegiance to Duryodhana blinds him to the path of righteousness. Even when Krishna approaches him with the truth about his birth and offers him a chance to join the Pandavas, Karna's loyalty to Duryodhana compels him to refuse. This decision, rooted in loyalty but tainted by pride and a need to uphold his word, seals his tragic fate.

Karna's pride also contributes to his hamartia. He strives for recognition and status, pushing him to participate in actions that compromise his moral integrity. His pride in being an unmatched warrior leads him to accept curses that later play a role in his downfall, such as the curse by his guru Parashurama for lying about his lineage and the curse by a Brahmin whose cow he inadvertently killed. These curses compound the tragic dimensions of his character by causing him to face insurmountable challenges at crucial moments during the battle.

Detailed Analysis of the Play “The Curse or Karna”

In the play The Curse or Karna, the themes of moral conflict and hamartia are vividly portrayed. The narrative delves into Karna’s inner reflections and moments of doubt, showing his awareness of the moral cost of his decisions. The curses he receives are symbolic of his hamartia, they are consequences of his actions rooted in loyalty and pride but are also representations of fate that cannot be escaped.

The play also emphasizes how Karna's moral struggle is not just with external forces but within himself. His sense of being wronged by fate and society drives his quest for validation, influencing his choices and alliances. Despite being noble and just in many respects, Karna's inability to break free from his loyalty to Duryodhana and his need to prove himself become his undoing.

Write a critical note on the deconstruction of myth in The Curse.

The play The Curse or Karna deconstructs the traditional myths surrounding Karna's life and character, peeling back layers of established narrative to reveal deeper, more human elements often overlooked in epic literature. Deconstruction, as a philosophical and literary approach popularized by Jacques Derrida, involves unraveling and analyzing texts to uncover inherent contradictions and subvert traditional interpretations. In The Curse or Karna, this technique is used to challenge and reinterpret the conventional understanding of Karna’s heroism, fate, and moral conflict.

In traditional tellings, Karna is often seen as a heroic figure defined by loyalty, brave, and tough commitment to Duryodhana. While these qualities are highlighted in the play, The Curse or Karna deconstructs this heroic ideal by exploring the limitations and consequences of such traits. The play questions whether Karna’s unwavering loyalty is truly noble or a tragic flaw leading to his downfall. By doing so, the narrative invites readers to see Karna not just as a hero bound by honor but as a man conflicted by personal choices, societal constraints, and fate.

The play deconstructs the myth of Karna as a larger-than-life figure by presenting him in a more human light, emphasizing his sensitivity and inner turmoil. This humanization goes beyond the traditional portrayal found in texts like the Mahabharata, where Karna's story is grand and often romanticized. In The Curse or Karna, his struggles with identity, the burdens of curses, and the moral ambiguities of his choices are brought to the forefront, exposing contradictions between his reputation as an honorable warrior and the ethical dilemmas he faces.

The theme of fate versus free will is deconstructed in the play by revisiting the roles of the divine curses in Karna’s life. Traditional narratives often portray these curses as manifestations of fate—events beyond Karna’s control that contribute to his tragic end.

In epic literature, the concept of dharma (righteous duty) plays a central role in shaping characters’ actions and the moral fabric of the story. In The Curse or Karna, the deconstruction of dharma is evident in the moral ambiguity surrounding Karna’s choices. The play presents his adherence to a code of loyalty to Duryodhana as a complex, double-edged adherence to dharma. On one hand, Karna's commitment is commendable, but on the other, it questions whether his loyalty aligns with a higher moral duty to uphold justice and righteousness.

Traditional myths emphasize Karna's heroics but often overlook the personal and societal injustices he endures. The play emphasizes his identity as an outsider, born of a divine mother but raised in a lower caste and how this impacts his sense of belonging and worth. By exploring his marginalization and how it shapes his decisions, the play adds new dimensions to his character and critiques the societal norms that contributed to his downfall.

Conclusion

The Curse or Karna serves as a powerful reinterpretation of the classic myth surrounding Karna, employing deconstruction to reveal the multifaceted nature of his character. The play challenges the conventional image of Karna as merely a hero defined by loyalty and courage, exposing the deeper moral conflicts and flaws that contribute to his tragic fate. By focusing on the personal and ethical dilemmas he faces, the play questions the very ideals of heroism and dharma, illustrating that adherence to loyalty can be both virtuous and destructive. It critiques societal norms and traditions that shape and confine individuals, highlighting how Karna's identity as an outsider influences his choices and alliances.

Reference

https://www.slideshare.net/slideshow/tools-for-reading-myths-peter-struck/115562338

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