Influenced by Somadeva’s Kathasaritsagara and Thomas Mann’s The Transposed Heads, Girish Karnad’s Hayavadana examines the “human identity in a world of tangled relationship” (Kurtkoti, 69). The female protagonist of the play, Padmini, suffers from identity crisis. Her character has been portrayed by Karnad in an intriguing manner. Her mercurial behaviour lies beyond the understanding of the two male protagonists of the play, namely Devadatta and Kapila: BHAGAVATA: (Sings.) Two friends there were—one mind, one heart. They saw a girl and forgot themselves. But they could not understand the song she sang. (Hayavadana, 82)
Padmini’s character has stemmed forth diverse criticisms. She has traditionally been analysed as a woman …show more content…
. . (She runs to Kapila) Don’t be sad, Kapila. We shall meet again, shan’t we? (In a low voice, so Devadatta can’t hear.) It’s my duty to go with Devadatta. But remember I’m going with your body. Let that cheer you up. . . . (111) When Devadatta gradually loses the strength of Kapila, Padmini becomes quite anxious. She cannot accept this metamorphosis because it would melt Kapila away from her life. She is angry because Devadatta takes no measure to keep alive Kapila through his body: PADMINI: . . . What’s happened to you these days? You sit at home all day. Never go out. You’ve forgotten all your swimming and sports. . . . (116)
Being disenchanted with Devadatta’s body, Padmini craves for Kapila again. She goes out of Devadatta’s house and arrives at Kapila’s door. She has been appositely compared to a river which “only feels the pull of the waterfall” (127). Padmini is spontaneously drawn towards Kapila. She can hardly control herself. When Padmini quite emotionally confesses her reason to meet Kapila, we realize that Padmini needs only Kapila not a combination of Devadatta and Kapila: KAPILA: (To Padmini) Why have you come here? PADMINI: I had to see …show more content…
Kapila matters the most to her. She neither adores nor shows any reverence to Devadatta’s creative potential. She merely teases, mocks, and makes fun of Devadatta’s poetic qualities. The general contention that Padmini hankers after a combination of Devadatta’s intellect and Kapila’s masculine body should be taken with doubt. She marries Devadatta for his social position. He is not at all her soul-mate. Kapila is her dream-man. But social norms cannot allow her to have Kapila as her husband. Kapila belongs to an inferior social class. Nevertheless, she succumbs to Kapila’s charms. She is happy when Devadatta’s head possesses Kapila’s body. She gets Kapila as her legal husband. It is Kapila who makes her complete. She depends upon Kapila for her existence. It is evident that Padmini searches for completeness. But this quest is not for an ideal man rather for her complete self. Devadatta suppressed her emotions as well as her true self. According to Padmini, Kapila can purvey her completeness through physical union. Hence, she ultimately goes to Kapila breaking perhaps the marital knot. Pandey has rightly pointed
Padmini’s character has stemmed forth diverse criticisms. She has traditionally been analysed as a woman …show more content…
. . (She runs to Kapila) Don’t be sad, Kapila. We shall meet again, shan’t we? (In a low voice, so Devadatta can’t hear.) It’s my duty to go with Devadatta. But remember I’m going with your body. Let that cheer you up. . . . (111) When Devadatta gradually loses the strength of Kapila, Padmini becomes quite anxious. She cannot accept this metamorphosis because it would melt Kapila away from her life. She is angry because Devadatta takes no measure to keep alive Kapila through his body: PADMINI: . . . What’s happened to you these days? You sit at home all day. Never go out. You’ve forgotten all your swimming and sports. . . . (116)
Being disenchanted with Devadatta’s body, Padmini craves for Kapila again. She goes out of Devadatta’s house and arrives at Kapila’s door. She has been appositely compared to a river which “only feels the pull of the waterfall” (127). Padmini is spontaneously drawn towards Kapila. She can hardly control herself. When Padmini quite emotionally confesses her reason to meet Kapila, we realize that Padmini needs only Kapila not a combination of Devadatta and Kapila: KAPILA: (To Padmini) Why have you come here? PADMINI: I had to see …show more content…
Kapila matters the most to her. She neither adores nor shows any reverence to Devadatta’s creative potential. She merely teases, mocks, and makes fun of Devadatta’s poetic qualities. The general contention that Padmini hankers after a combination of Devadatta’s intellect and Kapila’s masculine body should be taken with doubt. She marries Devadatta for his social position. He is not at all her soul-mate. Kapila is her dream-man. But social norms cannot allow her to have Kapila as her husband. Kapila belongs to an inferior social class. Nevertheless, she succumbs to Kapila’s charms. She is happy when Devadatta’s head possesses Kapila’s body. She gets Kapila as her legal husband. It is Kapila who makes her complete. She depends upon Kapila for her existence. It is evident that Padmini searches for completeness. But this quest is not for an ideal man rather for her complete self. Devadatta suppressed her emotions as well as her true self. According to Padmini, Kapila can purvey her completeness through physical union. Hence, she ultimately goes to Kapila breaking perhaps the marital knot. Pandey has rightly pointed