Abstract: Girish Karnad has given the traditional tale a new meaning and significance highly relevant in the context of life today. He seems to have used myth with a view to expose the absurdity of life with all its elemental passions and conflicts, and also to show man’s eternal struggle to achieve perfection. Karnad, in his plays, tries to evolve a symbolic form out of tension between the archetypal and mythic experience and a living response to life and its values. The new dimension and changes that Girish Karnad gives to a play, present an alternate world with incomplete beings, magnanimous gods and at times, they turn indifferent, dolls that speak more eloquently than humans, children who are morose and people having excessive longings, frustrations, ecstasies and miseries.
Keywords: Traditions, Myths, Conflicts, struggle and symbolism.
Introduction: Man creates literature, and literature studies Man – his origin and evolution, his interests and inclinations, his emotions and sentiments, his efforts, successes, failures and frustrations, his feelings of love, hatred, faith, devotion, loyalty and patriotism, and …show more content…
Lord Ganesha, with whose worship the play starts, Himself is an embodiment of alienation with an elephant head on a human body. A little later, another incompatibility comes on the scene, the character Hayavadana, with a horse-head on a human body. Perhaps the mythological figures are shown in the play to suggest the supremacy of the alienation concept over man. Devadatta and Kapila represent the modern man who suffers from self-alienation and it agrees with what Norman O.Brown says in this aspect. The intervention of Goddess Kali and Her power become quite weak since the transposition of their heads and bodies fails to liberate Devadatta and Kapila from their incompletion. The case of Padmini is different as she is more sensual than
Keywords: Traditions, Myths, Conflicts, struggle and symbolism.
Introduction: Man creates literature, and literature studies Man – his origin and evolution, his interests and inclinations, his emotions and sentiments, his efforts, successes, failures and frustrations, his feelings of love, hatred, faith, devotion, loyalty and patriotism, and …show more content…
Lord Ganesha, with whose worship the play starts, Himself is an embodiment of alienation with an elephant head on a human body. A little later, another incompatibility comes on the scene, the character Hayavadana, with a horse-head on a human body. Perhaps the mythological figures are shown in the play to suggest the supremacy of the alienation concept over man. Devadatta and Kapila represent the modern man who suffers from self-alienation and it agrees with what Norman O.Brown says in this aspect. The intervention of Goddess Kali and Her power become quite weak since the transposition of their heads and bodies fails to liberate Devadatta and Kapila from their incompletion. The case of Padmini is different as she is more sensual than