LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 17:1 January 2017
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
         A. R. Fatihi, Ph.D.
         Lakhan Gusain, Ph.D.
         Jennifer Marie Bayer, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
         C. Subburaman, Ph.D. (Economics)
         N. Nadaraja Pillai, Ph.D.
         Renuga Devi, Ph.D.
         Soibam Rebika Devi, M.Sc., Ph.D.
Assistant Managing Editor: Swarna Thirumalai, M.A.

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Indian English Drama and Girish Karnad’s Portrayal of
Muhammad and Padmini as Existential Figures Respectively in His
Tughlaq and Hayavadana: A Brief Analylsis

Dr. S. Chelliah, M.A., Ph.D.


Abstract

Girish Karnad is one among the intellectuals who felt the spirit of humanism in his heart and dramas and his dramas are nothing but the living documents of existentialism. This article throws light on Girish Karnad’s existential philosophy and his views on the problems of isolation and frustration in this world. His works project the philosophical and social vision of Girish Karnad which is challenging but really appealing. He has carved as niche for himself as an observer of the problems of human beings and occupied a coveted place among the most celebrated dramatists in interrogating existential philosophies and has proved himself to be a superb interpreter of the existential characters through his works Tughlaq and Hayavadana. In those works, he tries he define precisely the various subjective states of the actual and concrete individuals. Muhammad and Padmini respectively

Keywords: Girish Karnd, Tughlaq, Havyavadana, existential, persecution, liberation.

The Growth of the Indian Drama in English

The growth of the Indian drama in English both during and after the World Wars was found to be very slow. Unlike the Indian novel or Indian English poetry, the Indian English drama was not prolific due to the lack of a good theatre - going public. Only in cities like Delhi, Bombay and Madras, there was good patronage for the English play. Writers like Tagore and Aurobindo wrote dramatic poems rather than proper drama “Tagore and Aurobindo showed a predilection for casting their full length plays in the Shakespearean mould without trying to evolve a new dramatic form that is artistically viable in the modern context” (Naik 185)

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.


Dr. S. Chelliah, M.A. Ph.D.
Professor, Head & Chairperson
School of English & Foreign Languages & School of Indian Languages
Department of English & Comparative Literature
Madurai Kamaraj University
Madurai - 625 021
Tamilnadu
India
aschelliah@yahoo.com
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