Voice of Imprisoned Woman in Girish Karnad Nagmandala
“Voice of Imprisoned Woman” in Girish Karnard’s “Nagmandala”
Ms. Seema Sharma, Research Scholar
Banasthali University
Abstract
Girish Karnad austmerely scrutinizes the unvoiced mental and physical pain of a woman whose conscious and unconscious mind is conditioned so completely that she sees herself and the world around her only in a way man would like her to see through the play “Nagmandala”. Starting from the ancient to the modern era, woman is just like clay in the hands of the patriarchal society. The work of woman be underpaid, she is being demolished and her grief is unheard and is caged in the shackles of the four walls of the male dominant society. Whether it is house or any working place this fragmentary flower is not allowed to blossom as per her wish. Her desires are viciously walled in social conventions. For Indian Society, marriage is a social convention that makes a woman complete. For her home is said to be an expression of her freedom: it is her domain. The impediments in her life being misjudged and her voice and grief being restrained, she revolves in the squall of her problems. Karnad closely dissects the unaccepted condition of woman where she has no choice but to accept the pain of loneliness. It avails to rise up the question so as to why she is thrown in the gloom and doom of this vicious hand and portrays the overall image of a caged woman taking Rani as its core.
“Old is gold” the coinage of this clause clearly depicts the picture of the artistic ornaments in each and every sphere of literature starting from Shakespeare to Shaw. A playwright, poet, actor, director, critic, translator and cultural administrator; a man who has been rightly called the “renaissance man”; whose celebrity is based on decades of prolific and consistent output on native soil, belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulker who have created a national theatre for modern India is Girish Karnad. His compulsive return
Ms. Seema Sharma, Research Scholar
Banasthali University
Abstract
Girish Karnad austmerely scrutinizes the unvoiced mental and physical pain of a woman whose conscious and unconscious mind is conditioned so completely that she sees herself and the world around her only in a way man would like her to see through the play “Nagmandala”. Starting from the ancient to the modern era, woman is just like clay in the hands of the patriarchal society. The work of woman be underpaid, she is being demolished and her grief is unheard and is caged in the shackles of the four walls of the male dominant society. Whether it is house or any working place this fragmentary flower is not allowed to blossom as per her wish. Her desires are viciously walled in social conventions. For Indian Society, marriage is a social convention that makes a woman complete. For her home is said to be an expression of her freedom: it is her domain. The impediments in her life being misjudged and her voice and grief being restrained, she revolves in the squall of her problems. Karnad closely dissects the unaccepted condition of woman where she has no choice but to accept the pain of loneliness. It avails to rise up the question so as to why she is thrown in the gloom and doom of this vicious hand and portrays the overall image of a caged woman taking Rani as its core.
“Old is gold” the coinage of this clause clearly depicts the picture of the artistic ornaments in each and every sphere of literature starting from Shakespeare to Shaw. A playwright, poet, actor, director, critic, translator and cultural administrator; a man who has been rightly called the “renaissance man”; whose celebrity is based on decades of prolific and consistent output on native soil, belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulker who have created a national theatre for modern India is Girish Karnad. His compulsive return
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