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Research Chronicler & Research Innovator www.rersearch-chronicler.com Research Chronicler ISSN-2347-503X International Multidisciplinary Research journal Research Chronicler A Peer-Reviewed Refereed and Indexed International Multidisciplinary Research Journal Volume III Issue V: May 2015 CONTENTS Sr. No. Author Title of the Paper Page No. 1 Shailendra P. Singh Imparting Idea Generation Skills for 1 Effective Writing 2 Dr. Dhanesh Mohan Depiction of Pain and Misery of a Dalit in 6 Bartwal Omprakash Valmiki’s Joothan: A Dalit’s Life 3 M. Sraddhanandam Women Empowerment through Education in 17 Mahabub Nagar District of Telangaana State: Some Observations 4 Talluri Mathew Bhaskar Girish Karnad’s Yayati: a Mythical Play 22 5 Dr. Patil Vijaykumar Blanche: A Barren 37 Ambadasrao 6 B. Niraimathi From Self- adjustment to Self- alienation in 43 Anita Desai’s Fire on the Mountain 7 Mrs. Aphale Jayashri Ajay Use of Literature in Language Teaching 47 8 Anisha Rajan The Gendered Other in the Forty Rules of 53 Love 9 Mr. Dnyaneshwar Shrawan Dramatic Techniques in Vijay Tendulkar’s 58 Bhandare Ghashiram Kotwal 10 ¯ÖÏÖ. ›üÖò. •ÖµÖÓŸÖ ¿Öê¾ÖŸÖêú¸ü †Ö¿ÖµÖÖ­Öã¹ý¯Ö ÃÖÓ¾ÖÖ¤ü ¾Ö ÃÖÓ¯ÖúÖÔú׸üŸÖÖ 62 ÓúšüÃÖÖ¬Ö­Öê“Öß †×­Ö¾ÖÖµÖÔŸÖÖ 11 kaMbaLo ema. ema. jaagaitkIkrNaacaa marazI kivatovar Jaalaolaa pirNaama 67 12 izk-fparke.k f/kanGs vkfnoklh dforsr meVysys tkxfrdhdj.kkps 72 fp=.k Volume III Issue V: May 2015 Editor-In-Chief: Prof. K.N. Shelke www.rersearch-chronicler.com Research Chronicler ISSN-2347-503X International Multidisciplinary Research journal Girish Karnad’s Yayati: a Mythical Play Talluri Mathew Bhaskar Lecturer in English, Andhra Pradesh Residential Junior College, Vijayapuri South, Guntur, (A.P.) India Abstract Girish Karnad’s three plays, Yayati, Tughlaq, and Hayavadana are existential plays. They are related with the search of identity. His plays have been translated into several languages in India and abroad. His first play was translated into English in 2008. He used the myth of king Yayati from The Mahabharata and made it the vehicle of a new vision. The myth of Yayati has been taken from The Adiparva of The Mahabharata. The play, Yayati is a self-consciously existential drama on the theme of responsibility. Karnad, under the influence of Sartre and Camus, wrote the play to acquaint people that Camus and Sartre were his mentors who inspired him to write a play on existential lines. Karnad’s Yayati retells the age-old story of the mythological king who in his longing for eternal youth sought to borrow the vitality of his own son. Puru, Sharmishtha’s son offers to exchange his youth for the decrepitude of his father. After that, at the end of the play Yayati gives up the throne and retires to forests to lead a life of renunciation with Devayani and Sharmishtha. The playwright has given this traditional tale a new meaning and significance highly relevant in the context of life today. King Yayati recognises the horror of his own life and assumes his moral responsibility after a series of symbolic encounters. Key Words: Yayati, Decrepitude, Vitality, Renunciation, Existential. contemporary issues. In Yayati, Karnad Girish Karnad took legend, history and has taken traditional puranic theme but has myth for the plots of his three plays – given a fresh interpretation to it. He Yayati, Tughlaq and Hayavadana employs myth structure to synchronize the respectively. His first play Yayati reinterprets an ancient myth from The past and the present to blend appearance Mahabharata in modern context. It would and reality, to put contemporaneity side by not be an exaggeration to say that side with history. Myths come from racial thematically Karnad’s whole corpus can collective unconscious and there may be a easily be divided into two categories: real meaning concealed beneath its Myth- plays and History-plays. In apparent meaning. Mythology is a cultural Nagamandala, Yayati, Hayavadana and document. It can also be created for The Fire and the Rain we find the ulterior motives. Girish Karnad’s Yayati predominance of mythical element and retells the age-old story of the structure. In Tale-Danda and Tughlaq, we mythological king who in his longing for find a predominant historical structure. eternal youth sought to borrow the vitality However, Karnad also treats history as a of his own son. Karnad has borrowed the myth and rather than writing a strictly myth from The Mahabharata and other factual historical play he gives it puranas. Mythology has been Karnad’s symbolical reshaping to reinforce the most favourite muse. He has probably Volume III Issue V: May 2015 (22) Editor-In-Chief: Prof. K.N. Shelke www.rersearch-chronicler.com Research Chronicler ISSN-2347-503X International Multidisciplinary Research journal promised the most genuine platform for an Asura girl, as his wife, as required Indian mythology by transposing folk-tales under certain niceties of Dharma. His and legends from epics like The marriage to Sharmishtha infuriates Mahabharata into a modern context. The Devayani who in her seething anger and play Yayati was written and produced in jealousy goads her father to bring a curse Kannada, and it was an instant success. of senility and decrepitude upon Yayati. The presentation of the myth no doubt There is saving class, however, if Yayati is irritated the orthodox viewers, but the able to persuade someone else to bear the more enlightened critics appreciated the curse on his behalf, then he would enjoy new approach in the play. What impressed everlasting youth. As a remedy, he is the modern spectators was the re- allowed to escape from the curse if any interpretation of the ancient myth in a youth is ready to exchange his youth with contemporary context. The Mahabharata is his old-age. Yayati is susceptible to the most systematic inquiry into the human sensual pleasures. He promptly asks the condition. Its principal concern is the people of his kingdom and then in relationship of the self with the self and desperation, his sons to exchange their with the other. This great epic provides us youth with him. Only Puru, the youngest with a method to understand the human son, willingly offers his youth in filial condition itself. Every story in The devotion. Disappointed by each of his Mahabharata is an answer to a personal subjects and relatives, he finally turns to question. A question which troubles men his youngest son Puru, who agrees to do so and women everywhere arises from the out of his love for his father. Yayati apparent conflict between the truth of promptly accepts Puru’s offer. Yayati desire and the truth of what is right. And remains young while his son Puru turns the epic reflects honestly upon this into a weak and senile man. Yayati question. Karnad has used the myth of forsakes his life of sensual delights only king Yayati found in the Adi parva of The after indulging in it for a thousand years. Mahabharata. A unique distinction of the This story is recounted in the first chapter play is that a juvenile enterprise of a of The Mahabharata. Yayati returns Puru twenty-two year old inexperienced Karnad his youth and leaves for forest to lead a life in Kannada has got translated by the sixty- of renunciation with Devayani and nine year old mature and theatre-screen Sharmishtha. Karnad has given this thespian Karnad ( as he himself translated traditional tale a new meaning and the play in 2008). Another important thing significance highly relevant in the context about this play is that its first performance of life today. He used the myth of king in Hindi in the seventies with Amrish Puri Yayati and made it the vehicle of a new in its eponymous role established Satya vision. His treatment of the myth Dev Dubey as a theatre director with a inaugurated an affirmed conviction of the distinct vision. It has been translated into playwright, in the words of Dharwadkar: various modern Indian languages, it has Yayati establishes at the outset of been one of the favourite plays of the Karnad’s career that myth is not performers. In The Mahabharata Yayati merely a narrative to be bent to marries Devayani, the daughter of the sage present purpose, but a structure of Sukracharya, and also takes Sharmishtha, Volume III Issue V: May 2015 (23) Editor-In-Chief: Prof. K.N. Shelke www.rersearch-chronicler.com Research Chronicler ISSN-2347-503X International Multidisciplinary Research journal meanings worth exploring in itself Government Award, the Sahitya Akademi because it offers opportunities for Award (1960) and The Jnanapith Award philosophical reflection without the (1964). In his novel Khandekar made constraints of realism or the Yayati, a representative of modern necessity of contemporary setting 1 common man who inspite of receiving much happiness in life remains restless and Karnad weaves a complex dimension into discontented. The mythical Yayati ran a pre-existing narrative or plot. Karnad after sensual pleasures but Khandekar’s adds new characters to deepen connotative richness of his play and gives it a Yayati runs after all kinds of materialistic contemporary appeal. The play shows pleasures--- cars, bungalows, fat bank Yayati as already married to Devayani. He account, beautiful clothes, dances, music accepts Sharmishtha during the gradual etc. Khandekar’s Yayati is a modern man. unfolding of the dramatic events. Karnad Rabindranath Tagore wrote his famous introduces two new characters to the plot: play on Kacha and Devayani on the same Puru’s wife Chitralekha and the maid theme. The myth of Yayati has been confidante Swarnalatha. Karnad’s reported time and again. It traverses the originality lies in working out the generations, it has liberated itself from motivations behind Yayati’s ultimate time frames and spatial constraints.
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