Consciousness In Naga Mandala

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The three stages/levels of consciousness are:
Straining the text of Naga-mandala through these stages of Consciousness, we find a solid evidence of these stages present in the characters of the play. ‘Unconscious’ stage shows the feelings, urges, or instincts beyond awareness. It affects our expression, feeling and action. E.g. slip of tongue, dreams, wishes etc.
Usually unconscious state depicts the dreamy part of the texts. In the play, the ‘dream song’ of a woman narrated by the flames describes best her ‘unconscious state’ as she had imprisoned a story in her mind for many years and never told it nor sung the song. The day she slept and sung the song while narrating the story
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He killed Mongoose to relieve his aggression.
‘Sublimation’ is Similar to displacement. The displacement of emotions into a constructive way. In other words, it is referred to substitutive acts/ feelings. Rani in the play finds a displacement unknowingly in her life. She switches to the love of Naga, assuming him as Appanna. She felt loved when Naga captivated her attentions in the human form of Appanna. The end of the play also describes this defense mechanism in a relevant manner when Rani manages to keep the snake (Naga) in her hair forever after knowing that it was the source of her happy married life.
‘Regression’ allows an anxious person to adopt a more comfortable and childish attitude. When a person is troubled or frightened, his/her behaviors often become more childish. It is merely a movement back in psychological time. The reaction of Rani when Appanna got to know about her pregnancy, takes her back to the psychological time. The way she was treated before by Appanna, she was treated in the same miserable manner. She again stepped back into uncomfortable zone and was frightened badly that she even desired to kill

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