The three women Aruna, Dolon and Subhadra belong to an upper middle class educated and a financially secured background. They, except for Subhadra, are living a life without any apparent commitments and so are not burdened by the emotional baggage such relations entail. On the surface it all looks good and happy. But as the play progresses we understand that there is more to than what meets the eye. They could be representatives of the modern Indian women who have broken the age old shackles of customs and traditions. They do not live by the rules of the society. They do not have to put up with the chauvinistic men-folk. They are not worried about money. They all earn well so they can burn money on perfumes, dresses, and food etc. But their relationship is not without flaws. They constantly bicker and find fault with each other and make hurting and judgmental comments, especially Aruna and Dolon. Subhadra’s presence brings about a parley between Aruna and Dolon. But the respite is only temporary. Samik Banhyopadhyay says, “With Subhadra’s exit, Aruna and Dolon lose their moment of triumph and glory. They can cling to their lost privile...
... middle of paper ...
...go to your college, I to my bank. The night is over.” (286)
It is the music of the Sonata which lingers as the stage becomes dark leaving Dolon sitting on the sofa, Aruna standing near her desk, both staring into the darkness, and thus ends another evening.
1. Elkunchwar, Mahesh. Collected Plays of Mahesh Elkunchwar. New Delhi: Oxford University Press, 2010.
2. Sree, S. Prasanna, ed. Indian Women Writing in English: New Perspectives. First ed. New Delhi: Sarup & Sons, 2005. Print.
3. Konar, Ankur. "Cultural 'Scape' and Social Space: Reflection of Fragmentation in Elkunchwar's Sonata." Galaxy: International Multidisciplinary Research Journal1.1 (2012): 1-5. Web. 15 Mar. 2014.
4. Hans, Anjali. "Feminism as a Literary Movement in India." International Research Journal of Applied and Basic Sciences 4.7 (2013): 1762-767. Www.irjabs.com. Web. 19 Mar. 2014.
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