Love Conflicts in Girish karnad's Plays

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The theme of Love conflicts and the psychological realities of the female characters in GirishKarnad’s Nagamandala and Hayavadana.

The article will examine the female protagonists of Girish Karnad’s Plays, in view of their limited freedom and insular mode of life. Presetting Karnad’s female characters as incapable of feminine assertion and identity indeed reduce them to mere silent victim in the face of an aggressive and hostile patriarchy. The purpose of this article is to analyze the Love conflicts and the psychological realities of the female characters of Girish Karnad, one of the foremost playwrights in Contemporary Indian drama. Further, the article will examine the marginal position, and female sensibility of women in the Indian Society.

India has rich heritage of Drama from the ancient times .Drama in India begins its journey with the Sanskrit plays.A.L.Basham, a prominent historian, expresses his views in this manner ``The origin of Indian theatre is still obscure .It is certain, however that even in the Vedic period dramatic performances of some kind were given, and passing references in early resources point to the enaction at festivals of religious legends, perhaps only in dance and mime``

Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a prominent playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did it in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient [2] of the 1998 Jnanpith Award for Kannada, the highest literary honour conferred in India. . His knowledge of human nature made him a great playwright. His plays reca...

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...y of her own, a victim of ‘incompleteness’ she craves for completeness in her relations, in love but usually finds none. Though conventionally the man-woman relationship is compared to the two wheels of a cart, both equally important, yet in reality the female is always the broken, fragmented wheel clinging to the other (male) for support and survival.

With such references to India’s cultural, religious and social context, Karnad does not mean to condemn them but make readers and viewers understand how even with different human values and behaviours, we seem to follow well set norms. He has blended such issues such as love, identity and sexuality with folk culture and his imagination. Karnad provides us with a glimpse of the past as well as its relevance to understanding the contemporary world
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