Voice of Imprisoned Woman in Girish Karnad Nagmandala Essay Example

his native land that has also witnessed the rise of other reputable dramatists such as Dharamveer Bharati, Mohan Rakesh and Vijay Tendulker who have played significant roles in establishing a national theater for contemporary India.

The constant reevaluation and exploration of mythical and oral tradition, coupled with his endless effort to dismantle the dominant beliefs and customs, made him a significant figure in post-independence Indian literature. Both Shakespearean influence and Henrik Ibsen's naturalistic drama had marked impressions on him. Furthermore, he acknowledged the existence of two parallel thought trends in every aspect of life in India during the 1950s and 1960s – an amalgamation of embracing modern methods inherited from colonial control while remaining faithful to the nation's culturally wealthy history.

He implies that the advancement of Indian English drama requires a reconnection with its origins rooted in ancient Indian theatre, encompassing both Sanskrit and Prakrits folk performances. This revival of tradition will enhance the genre's vitality and enrich its aesthetic merit. The drama integrates myth and folklore into its artistic framework, indicating that despite society seemingly upholding conventional principles, it retains the prerogative to challenge them.

The drama illustrates Rani as an emblem of womanly simplicity, purity, and impotence, emphasizing the torment of a female muted by societal conventions and imprisoned within her domestic boundaries. Her wedlock compels her to forfeit the secure sanctuary of her youth and parental affection, obliging her to depend on illusions for preserving her mental stability. Appanna, her irritable and domineering husband, converts her everyday life into a tedious routine bereft of camaraderie or a feeling of affiliation.

Rani’s potential as a wife and mother remains untapped,

as she is confined by societal norms and bitterness. She is accustomed to acting like a doll, despite her name's association with power and dominance. Suddenly, her husband, Appanna, dismisses her and leaves, locking the door behind him. Rani tries to escape but finds herself trapped, peering out of a barred window with confusion. This powerful play by Karnad portrays the inner pain and frustration of women when their desires are unfulfilled. Rani's new life with a new man was supposed to be like wonderland, but she struggles to comprehend her situation. She feels silenced and unsure, seeking solace in dreams, fairy tales, and fantasies to escape the harsh reality of her existence. For women, the home should represent freedom and autonomy.Rani's spouse routinely confines her within their house, locking the door from the outside. This baffles others as she becomes trapped within the walls of seclusion, experiencing the collapse of her body and mind amidst the harsh realities of confinement, violence, regulation, and communication as a victimized gender-self.

Rani is a woman plagued by silent suffering and the feeling of being trapped. She's caught within the confines of domestic life, torn between what's real and an illusion, her true self and a manufactured persona. The long suppressed outcry from her caged mind emerges as she implores: "Listen—please—" (She cannot comprehend what's occurring; she appears confused and can't even shed tears. She retreats to a corner in her room, talking unclearly to herself. Her utterances become comprehensible as the lights fade)."Listen (struggling for words) Listen—I am frightened—alone at night—" Appanna, devoid of any empathy or concern, responds: What should you be scared about?

Just keep away from others.No one will disturb you.Rice!(Pause) Please... Look, I don't like pointless chatter.Do as directed. Is that clear?" (P.g:254). With Appanna embodying an indifferent husband who lacks sensitivity or compassion, Rani experiences a dull marital existence with little emotional warmth or affection coming from him: "Rani where have you gone?(No reply.) I asked where have you been?Rani respond!"(He steps aside allowing her entry but immediately upon stepping inside she receives a harsh slap from Appanna.She falls to the ground………)"(P.:266). Rani suffers deprivation on multiple levels - sexual satisfaction, personal fulfillment and familial bonds are all absent in her life.Her husband Appanna does not respect their marriage vows but instead opts to spend his nights with his mistress.
Rani's brutal disregard is not adequately articulated by her since she never gets the chance to express her agony. Being ignored, left unspoken, and neglected, Rani is handled as though she were a bug. The circumstances that led to this incident expose how when freedom is denied, individuals become mindless, lose their creativity and are incapable of evaluating situations. This same issue can be seen in Rani's situation.

In a marriage, a daughter often leaves the love of her parents behind and expects her new home with her in-laws to be a vibrant and delightful place where she can freely pursue her desires. However, for Rani, this dream seems unattainable. As a woman bound by tradition, she is taught to respect and obey her husband's commands, suppressing her own emotions. Her feelings for Appanna illustrate the mindset of a traditional Indian woman who is constrained by societal norms. Despite this, she dutifully fulfills her role

as a wife and attempts twice to manipulate Appanna's affections by using magical roots.

As she readies another round of her root paste, she experiences a moment of doubt about presenting it to her husband because of its suspicious hue. Her concern for any potential harm it could inflict on him compels her to exclaim in consternation, "Dear God! What is this repulsive concoction? It resembles blood. It might be poisonous. Should I really serve this to him? ... How can I be sure that it's safe? What if my husband was harmed as a result? What would become of me then? The small serving previously made him sick. Anything could happen... No, no. Lord please absolve me. This is evil-minded. I was nearly guilty of an offense." (P.g.: 266) With the absence of a promising future or self-identity, she craves affection and acknowledgement in her role as a wife.

When faced with a dilemma, the protagonist expresses her desire to end her suffering by asking for poison. She compares herself to a dog and a mongoose,

emphasizing her feelings of humiliation.

Society views her actions as sinful, which is evident when she becomes pregnant and is questioned by the character named Appanna. He accuses her of being a harlot and expresses his astonishment at her ability to find a lover despite being locked away.

Rani's imprisoned voice is portrayed through incidents in which she is taken out in front of the panch. During one of these incidents, she is accused of her virginity and is asked to prove herself. In response, she declares that only her husband and a king cobra have touched her and if she is lying, she should be bitten by the cobra. This shows her refusal to endure abuse in public.

However, Rani, an unspoken and unheard woman, must confront a challenging snake ordeal in front of society. Despite this trial, she discovers newfound courage and confidence within herself. Liberated to speak, she expresses her agony and pain. Naga's love and respect for her enable her to recognize her rights and find the strength to ask for what she needs and question when necessary. As her over-tolerant behavior gradually fades away and her female body is liberated from her suppressed soul, she moves closer to empowerment.

Whenever presented with a chance to validate her worth, she bravely articulates without any trepidation. There are multiple remarks that can be made concerning the incarcerated woman: 1. The concepts of Freedom and Equality, prominent in the Romantic Age, are applicable to Karnad's protagonist Rani. Once liberated, she manages to voice out the truth. She fearlessly confronts the village's judicial figures and responds to all queries posed

by her spouse and fellow villagers. Through acknowledging the trials endured during her confinement, she exhibits her integrity.

The restricted life of a female can lead to detrimental effects throughout her lifespan, exemplified by Rani. A woman's inventive capacity is suppressed. In the contemporary 21st-century society, women have achieved substantial progress and are prospering in diverse sectors. Nevertheless, they remain subject to exploitation, frequently without their awareness. Irrespective of their employment status, females are anticipated to adhere to societal norms and standards. They are viewed as a symbol of honor for their families and are shaped by social beliefs with parents serving as the primary influence.

The masters of the family guide women according to social norms, which continue to restrict their freedom in various ways and form the core of social orders (Naik 2001; Trivedi and Jain 2010, 19; Karnad 2010, 60, 83-86; Dharwadker).

The text draws upon numerous resources regarding Indian English Drama. These entail a book published in 2005 by Sarup Books Publishers PVT. LTD, titled "Indian English Drama, A Kaleidoscopic View" authored by Gopichand P. and Nagasuseela P. It also references several web documents including http://www.publicacions.ub.edu/revistes/bells15/documentos/71.pdf, http://shodhganga.inflibnet.ac.in/bitstream/10603/2092/9/09_chapter%203.pdf, http://anilpinto.blogspot.in/2010/03/semiotic-study-of-girish-karnads.html, http://voices.yahoo.com/feminism-girish-karnads-nagamandala-1913134.html, and http://www.the-criterion.com/V2/n3/Krishna.pdf. The sources were accessed on the following dates - 11th October 2012, 12th October 2012, 24th October 2012 and 14th October 2012.