CHAPTER IV

DISCOURSE DEIXIS IN SELECTED PLAYS

4.1 INTRODUCTION

Discourse deixis elements used in the three selected plays by Girish Kamad are analysed. This analysis offers an insight regarding the use of language in the plays. This study concentrates on the use of discourse deixis elements which are used to refer to 'preceding and following part of discourse', 'ongoing discourse', 'refers to utterance itself, 'past reference', 'future reference' and so on in the process of the ongoing communication. The analysis of discourse deixis, in the selected plays, mainly focuses on certain facts regarding the use of language. An in-depth examination is carried out in respect of the use of discourse deixis in the three selected plays by Girish Kamad, namely- Yayati, Tughlaq and Naga-mandala. Each of the thirty utterances, ten from each play, are analysed in terms of the contexts and comments are offered on their significance.

4.2 ANALYSIS OF DISCOURSE DEIXIS IN YAYATI

4.2.1 Girish Karnad: Yayati: Discourse Deixis: One

YAYATI: I have said all that I wished to say. I must now go.

SHARMISHTHA: Please, wait. It is true I am your wife's slave. You may dismiss me as you wish. But you asked to see me. And as you said yourself. I am a princess by birth. I have a right to be heard.

YAYATI: Then answer my question first. Is pushing a friend into well an act worthy of a princess? That is where it all began, didn't it?

SHARMISHTHA: Yes, it did. But she has never explained to you why?

176 YAYATI: Oh, yes. Something about your blouses getting mixed up and you flying into a wild temper...

SHARMISHTHA (smiles): Yes, of course.

(Girish Kamad, 1960: p. 18)

ANALYSIS: DISCOURSE DEIXIS

This passage presents a conversation between King Yayati and Sharmishtha. King Yayati asks Sharmishtha to behave herself and to be nice to Devayani. The King tells Sharmishtha that he can make her free from slavery. But Sharmishtha seems to prefer to stay with Devayani as her slave, (as she becomes Devayani's slave as a punishment for her misdeed). The King asks whether she is happy with the hell she herself has created. Sharmishtha says she could have spewed out nectar but her community leaves things like these to Brahmin girls and she is a rakshasa woman and she has her own code to follow. The argument between Yayati and Sharmishtha continues. Yayati asserts that he has said what he wished to say. Since Sharmishtha is his wife's slave, she agrees that he (the King) can dismiss her as per his wish. But having accepted Sharmishtha as a princess, Yayati has to give her an opportunity to express her views. King Yayati disapproves Sharmishtha's attempt to murder Devayani and states that it is a denouncing act on her part. Sharmishtha tells King that she (Devayani) has never revealed the truth regarding Sharmishtha's action though she knew it very well. Yayati is under impression that the reason was a very trivial one.

The occurrences of discourse deixis in the above passage are: 'that', and 'but'.

4.2.1.i YAYATI: I have said all that I wished to say. I must now go. (Girish Kamad, 1960: p. 18) King Yayati talks to Sharmishtha about her behaviour with Devayani. Sharmishtha instigates Devayani by telling that it was not because of Devayani's beauty but her father's power that the King Yayati had to marry her. Devayani quarrels with Sharmishtha and abuses her. At the same time Yayati enters the chamber and asks why it is not ready. As soon as Sharmishtha exits the chamber; Devayani reports everything to Yayati. Sharmishtha is called for. But when Sharmishtha enters the

177 chamber, Devayani exits. Yayati asks Sharmishtha whether she is not happy with arrangement made on the occasion of his son's arrival at home and also whether she is not comfortable among the strangers against her will. She tells him that she agrees to the arrangement as she considers herself as an insider and not an outsider and states that she has accepted her new life in his company. Yayati says he will free her from her slavery. She says she has declared herself a slave. She does not want to be free from her slavery. Sharmishtha argues about Aryas and says Aryas are confused. Because Sharmishtha belongs to rakshasa's family. She is proud of the chaos which she calls creation and which is the order of the rakshasa. The Arya order according to her is also confusion. Therefore, she wants to follow the code of conduct of the rakshasa. The King Yayati tries to convince her and to make her free from her slavery but she does not accept it. She says she is happy being a slave. The King states that he has shared his view very frankly. The demonstrative 'that' is used to refer to the thinking of King Yayati about Sharmishtha and his proposed solutions to make her free from the slavery. It also refers to the talk in the earlier discourse. Therefore, the demonstrative 'that' is used as a discourse deixis.

4.2.1.ii YAYATI: Then answer my question first. Is pushing a friend into well an act worthy of a princess? That is where it all began, didn't it? (Girish Kamad, I960: p.18) King Yayati talks with Sharmishtha about her behaviour with Devayani. He says he will free her from her slavery. She argues with the King and says she is rakshasa woman. They have chosen their lives in chaos. They are proud of the fact that it is a chaos of their own creation. She does not wish to be free from slavery and tells the King that, it is true that she is the Queen's slave. He, therefore, can dismiss her if he so desires. She asks the king as he himself said that she (Sharmishtha) is a princess by birth. She expects the King to listen to what she says. She utters this in order to except the King to listen to her. The King insists upon her giving a reply to his question 'Is pushing a friend into a well an act worthy a princess?' He states that, that was the situation where it all began. The demonstrative 'that' is used by Yayati to refer to backward pointing in the ongoing discourse. It is also used to bring in the past

178 reference as Sharmishtha's suffering is due to being a slave because of her past act. Therefore, the demonstrative 'that' is used as a discourse deixis. The recurrent use of 'that' throughout these utterances also brings out the seriousness of Sharmishtha's misdeed.

4.2.1.iii SHARMISHTHA: Yes, it did. But she has never explained to

you why?

(Girish Kamad, 1960: p. 18)

King Yayati and Sharmishtha argue with each other about several things. Sharmishtha reminds the King that as he himself states that, she (Sharmishtha refers to herself) is a princess by birth. Being a princess she has a right to be heard. She intends now to say whatever she is saying which should be heard by the King. King Yayati tells her to answer his question first. He continues asking a question: 'Is pushing a friend into a well an act worthy for a princess?' Sharmishtha replies to this in the affirmative. She says that Devayani has never explained to him (to King Yayati) the reason for the act. Here, Sharmishtha tries to say whatever she did that was neither wrong nor immoral. King Yayati opines that since she is a princess this sort of demeaning act cannot be accepted and so she deserves due punishment. But Sharmishtha does not agree with Yayati's views and tries to bring out the hidden part of the story since Devayani had falsely reported the incident to Yayati. Sharmishtha while bringing in her point uses the conjunction 'but' to refer to the reason of her action of which, she thinks, the King is not aware. The conjunction 'but' shows Sharmishtha's contradictory views for Devayani since Devayani has told only half-truth to Yayati. Therefore, the conjunction 'but' is used to bring out the contradiction of thinking, action and reality. It is a discourse deixis.

4.2.2 Girish Karnad: Yayati: Discourse Deixis: Two

YAYATI: Let me say I feel benefitted by our little chat in at least one small way. I know there is nothing I can do. I stand disabused of my belief that 1 have the ability to solve the problem.

179 SHARMISHTHA (calmly): No, sir, but you have helped. Perhaps during these two years all I needed was someone to listen to me. You have done that and that is enough for me. I am grateful. I shall not torment you any further.

YAYATI: What do you mean? You agree to go home?

SHARMISHTHA: (takes out a vial from her inside her blouse): Home is just a blank spot, sir, erased from my life. This is the dowry my father gave me when 1 left home. A vial of lethal poison.The purest extract of wild mushrooms.

(Smiles.)

'Instantly effective', my father has assured me. I meant to use it. first on Devayani and then myself. But now I have no desire to kill her.

YAYATI: Killing her would have solved nothing.

(Girish Kamad, 1960: pp.20-21)

ANALYSIS: DISCOURSE DEIXIS

The King says he is benefitted by their little chat as he thought he has the ability to solve the problems, he stands disabused of his belief, as there is nothing he can do (as he is unable to solve the problem). Sharmishtha says during these two years she needed someone to listen to her and he (the King) has done. That is enough for her and she will not torment the King anymore. King utters what does that mean whether she is ready to go home. She takes out a vial of lethal poison from her blouse and tells the King it is the dowry her father has given her when she left home. She says she meant to use it first on Devayani and then on herself. Now she has no desire to kill Devayani. King Yayati tells her killing Devayani would have solved nothing.

Occurrences of discourse deixis in the passage are: 'perhaps', 'that'. and 'this'.

180 4.2.2.i SHARMISHTHA (calmly): No, sir, but you have helped. Perhaps during these two years all I needed was someone to listen to me. You have done that and that is enough for me. I am grateful. I shall not torment you any further. (GirishKamad, 1960:p.20) The King Yayati tries to convince Sharmishtha and tells her that he (the King) desires to make her free her slavery. She says that she has declared herself a slave and she is happy to be a slave. The King tries all his ways to convince her and when he comes to know that she cannot be convinced, he cleverly utters that it was his belief that he has the ability to solve the problem but he is benefitted by the chat and he must correct that belief of his as he was unable to convince Sharmishtha to be free from slavery. She denies that and says the King has helped her. As she says in those two years all she needed was someone to listen to her. And the King has done that now and that is enough for her. She asserts that she shall not torment the King any further. Sharmishtha uses the word 'perhaps' to refer to her own thinking. What she has needed during those two years has been fulfilled by the King's presence. She has linked her past experience with a situation in the ongoing discourse. Therefore, the word 'perhaps' is used as a discourse deixis.

The demonstrative 'that' in the above context refers to the King's listening to all which Sharmishtha has desired to convey. She needed someone during those two years to listen to her. Here, the demonstrative 'that' is used to bring out past reference in ongoing process of communication. Therefore, 'that' is used as a discourse deixis.

4.2.2.ii SHARMISHTHA: (takes out a vial from her inside her blouse): Home is just a blank spot, sir, erased from my life. This is the dowry my father gave me when I left home. A vial of lethal poison.The purest extract of wild mushrooms. (GirishKamad, 1960: p.21) King Yayati says that he must correct his belief that he has the ability to solve the problem. He could not convince Sharmishtha to be free from her slavery. Sharmishtha says to the King that by listening to her he has helped her. She assures him that she shall not torment the King any further. King Yayati asks her what does

181 that mean; whether she agrees to go home. Sharmishtha takes out a vial from inside her blouse, she tells King Yayati that, home for her is just a blank spot and she has erased that (home) from her life. She shows, the vial of lethal poison, to the King and says 'this is the dowry my father gave me when 1 left home'. Sharmishtha uses demonstrative 'this' to refer to the vial of lethal poison. The demonstrative 'this' is used to refer to the following part of discourse. Here, the demonstrative "this' is used as a discourse deixis.

4.2.3. Girish Karnad: Yayati: Discourse Deixis: Three

SHARMISHTHA: You talk of death as though it was another woman ready to succumb to your charms. It isn't. You cannot flirt with one death and then pass on to taste the next one. There is no next one.

YAYATI: Tsk! Don't try to teach me about death. I deal with it every day.

SHARMISHTHA: Other people's death. I am not talking about that.

YAYATI: The only death to me is that of someone else. Not mine. I never think of my ovm death. That is not for me a possibility at all. When I ride out into combat, 1 know I shall return alive.

SHARMISHTHA: To what? More women?

YAYATI: Among other things. Women, music, dance, celebrations, my subjects. 1 love life. I love my subjects. I like those around me to be happy and cheerful. I would like you to remember that.

(Pause. He waits to see if she has caught the import of his remark. She has.)

(Girish Karnad, 1960:pp.23-24)

ANALYSIS: DISCOURSE DEIXIS

The King stops Sharmishtha from drinking the poison. He asks her whether she would drink the poison if he had let her allow drinking it. Sharmishtha replies in the affirmative. The King remarks that it was not a theatrical gesture at all. The King

182 utters that rakshasas are known for their histrionics. She tells him that she really wanted to die. They both argue about suicide and death. The King tells her not to teach him about death, he deals with it every day. She tells the King that he deals with other people's death and she is not talking about that. The King replies death real to him is that of someone else's. He never thinks of his own death and that death is not at all for him a possibility. He tells her when he rides out into combat he knows he shall return alive. Sharmishtha asks for what, for more women he shall return alive. The King says he loves and he likes those around him to be happy and cheerful.

Occurrences of discourse deixis in the above passage are: 'it', and 'ihat'

4.2.3.1.1 YAYATI: Tsk! Don't try to teach me about death. I deal with it every day. (Girish Kamad, 1960: p.24) The King stops Sharmishtha from drinking the poison, when she tries to drink the King jumps forward and grabs her right hand. Sharmishtha says to Yayati that he is holding her right hand and she is a princess. They talk with each other. They both share the bed. Sharmishtha tells Yayati that he should have allowed her to drink the poison. Yayati asks whether she really wanted to drink the poison or it was just a threat, as rakshasas are known for their dramatics. She says that she really wanted to die. Yayati says that he did not understand her fascination with suicide and the flirtation with death. Sharmishtha says to the King that the death is not like a woman who surrenders to the King according to his wishes. He cannot flirt with one death and pass on to test the next one. King seems to be angry and says to her that she need not teach him about death. He deals with it every day. King Yayati uses the third person pronoun 'it' to refer to death. The word 'it' also refers to the preceding part of discourse and it helps to understand whatever has occurred earlier in the discourse. Therefore, the third person pronoun 'it' is used as a discourse deixis.

4.2.3.ii SHARMISHTHA: Other people's death. I am not talking about that. (Girish Kamad, 1960: p.24) Sharmishtha argues with Yayati about the suicide and death. King Yayati remarks that committing suicide is like flirting with life. Sharmishtha remarks death is not a

183 woman with whom he (the King) can flirt and go on to taste the next one. There is only one death. The King says he deals with the death every day. He tells Sharmishtha not to teach him. Sharmishtha says that she is not talking about other people's death. Sharmishtha wants to refer to her own death, or death of oneself When the King says that he deals with deaths every day, she says she is not talking about other people's death. She uses demonstrative 'that' to refer to backward pointing in the ongoing process of communication. The demonstratives like 'it', and 'that' help to refer to the things which are already mentioned in the discourse. Here, the demonstrative 'that' is used to refer to the preceding part of discourse which is helpful for Sharmishtha to mention her point strongly. Therefore, demonstrative 'that' is used as a discourse deixis.

4.2.3.iii YAYATI: Among other things. Women, music, dance, celebrations, my subjects. I love life. I love my subjects. I like those around me to be happy and cheerful. I would like you to remember that. (GirishKamad, 1960:p.24) Sharmishtha asks the King that she is not talking about the death of other people but refers to her own death. Yayati replies to Sharmishtha that the only death real for him is that of someone else, and not his own death. For him death is not a possibility at all. He further says that when he rides out into combat, he knows that he shall return alive. Sharmishtha questions him as to what for he returns alive for more women. He explains among other things, women, dance, celebrations, are his subjects and he likes those around him to be happy and cheerfiil. He says he would like her to remember that. When Sharmishtha utters that whether he wants to be alive all the time for women. He replies that he wants everyone around him to be happy and cheerful. He says to her that he would like her to remember that. He uses the demonstrative 'that' to refer to the situation and time which they have spent together when they shared the bed and he wants her to remember the moments when she was happy and cheerful. He intentionally utters this as it must be understood by her and she understands his intention of saying so. Here, the demonstrative 'that' is used to refer to the past reference in the ongoing process of communication. King Yayati cleverly clarifies his point by using 'that' against the words which were used by Sharmishtha as she

184 mentioned whether the King wants to be alive for women. Here, the demonstrative 'that' is used as a discourse deixis.

4.2.4. Girish Karnad: Yayati: Discourse Deixis: Four

SHARMISHTHA: Let us not get into that, sir. Let me just warn you that by spending this half an hour with me, you have already lit the fire. Better douse it before it explodes into a conflagration.

YAYATI: Let it. I don't care.

(Sharmishtha coolly stares at him.)

SHARMISHTHA: You are amazing.

YAYATI (smiling): I have heard that said before.

SHARMISHTHA: But not, I am sure, in the sense I mean.

YAYATI: How do you mean?

SHARMISHTHA: You see yourself as awesome and powerful, a figure towering over your vast possessions, a demi-god if not god himself. You are so busy visualizing the grand design of life; you have no sense of the traps and snares waiting in the grass. You have no sense of how illogical suffering can be and therefore how terrible.

(Pause.)

You don't know what a disaster you could be.

(Girish Karnad, 1960: pp.24-25)

ANALYSIS: DISCOURSE DEIXIS

This passage recounts a conversation between King Yayati and Sharmishtha. The King says everyone around him should be happy and cheerful. His intention is to convey the same to Sharmishtha. It is to be understood by her. Sharmishtha understands and says it does not apply to her as Devayani will be jealous of Sharmishtha. The King says he does not know whether she will be jealous. Devayani

185 and her father are certainly bound to be livid. Sharmishtha warns the King that he has already lit the fire by spending half an hour with her, better to douse the fire. The King says he does not care about that. Sharmishtha tells the King that he has no sense of traps in the grass and how illogical sufferings can be. Those can be terrible. Sharmishtha adds to this saying that the King as yet does not know what a disaster he could be.

One can find discourse deixis elements in the above passage such as: 'that' and 'therefore'

4.2.4A SHARMISHTHA: Let us not get into that, sir. Let me just warn you that by spending this half an hour with me, you have already lit the fire. Better douse it before it explodes into a conflagration. (GirishKamad, 1960:p.24) Yayati tells Sharmishtha that those around him should be happy and cheerful. He intentionally remarks that he would like that to be remembered by her. Here, the King refers to happy and cheerful Sharmishtha as they both shared bed and he wants that she should remember the moment when she felt happy and cheerful with him. She says that, that does not apply to her as she (Devayani) will not allow that and that will make her very angry. King Yayati says that she (Devayani) knows she is married to the King and she caimot afford to be jealous. Sharmishtha says she does not know whether Devayani will be jealous. But she and her father will most certainly be livid. Yayati says that her father is guru in your (Sharmishtha's) father's court. He must be used to things worse than these. Sharmishtha tells the King not to indulge into that matter. She just warns him that by spending half an hour with her he has already lit the fire. She further says better douse it before it explodes into a great fire. Here. Sharmishtha uses the demonstrative 'that' to refer to Yayati's efforts to keep Sharmishtha in the same position as that of Devayani. He wants to make her his queen and keep physical relations with her. But Sharmishtha says that Devayani and her father Shukracharya will not like that. Sharmishtha tells King Yayati not to indulge in that matter but douse the fire which was lit by spending half an hour with Yayati before it explodes in a great fire. The demonstrative 'that' is used by Sharmishtha to refer to Yayati's plan. She is thinking about what will happen if he accepts

186 Sharmishtha in the same position in which Devayani already is. Therefore, 'that' is used as a discourse deixis.

4.2.4.ii SHARMISHTHA: You see yourself as awesome and powerful, a figure towering over your vast possessions, a demi-god if not god himself You are so busy visualizing the grand design of life; you have no sense of the traps and snares waiting in the grass. You have no sense of how illogical suffering can be and therefore how terrible. (Girish Kamad, 1960: p.24) Sharmishtha tells Yayati not to indulge in thinking about what will happen when he accepts Sharmishtha in the same position of Devayani but douse the fire which was lit by spending half an hour with King Yayati. He says let that be. He does not care. Sharmishtha says that he is amazing. Yayati replies to this with a smile. He says that he has heard that said before. She tells him that he has not heard it in the sense she means. Their conversation turns into an argument. King Yayati asks her what she means. She tells him that he considers himself as awesome and powerful, a figure towering over vast belongings, a demi-god if not god himself She further tells him that he is so busy visualizing the grand design of life. He has no sense of traps and snares waiting in the grass. She continues talking and says that he has no sense of how illogical sufferings can be and therefore how terrible. She uses the word 'therefore' referring all the things which the King lacks and he considers himself as a demi-god. Sharmishtha's thinking is that the truth is different as the King has no sense of trap and he does not know how illogical suffering can be. She thinks considering all this it is terrible. She uses the word 'therefore' to refer to all things and comes to the conclusion that King Yayati could be a disaster. Here, the word 'therefore' is used as a discourse deixis.

4.2.5 Girish Karnad: Yayati: Discourse Deixis: Five

YAYATI (to Swarnalata): You heard me. I want her kept under watch. If she disappears, someone will pay for it with his life.

(Swarnalata exits.)

187 Let her go! Don't you have enough concubines to keep you occupied?

SHARMISHTHA: Me his concubine? You must be joking. Yes. I got him into bed with me. That was my revenge on you. After all, as a slave, what weapon did I have but my body? Well, I am even with you now. And I am free. I shall go where I please.

YAYATI (to Sharmishtha): You are not fooling anyone. (To Devayani) 1 am not out to make her my concubine. She will be my queen.

(Girish Kamad, 1960:pp.28-29)

ANALYSIS: DISCOURSE DEIXIS

Devayani tells Sharmishtha that she is making her (Sharmishtha) free from her slavery, she (Sharmishtha) can go home. Sharmishtha replies by saying that she has no home and she has promised her father that she shall be Devayani's servant for life. Devayani insists on her going but King Yayati orders Swamalata to tell guards that (Sharmishtha) is allowed go anywhere she likes in the kingdom but she is to be kept under surveillance. Devayani argues with the King and asks him whether he wants her to be his concubine. King tells Devayani that he is not making Sharmishtha his concubine but making her his queen.

Occurrence of discourse deixis in the above passage is: 'that'.

4.2.5.i SHARMISHTHA: Me his concubine he? You must be joking. Yes. I got him into bed with me. That was my revenge on you. After all. as a slave, what weapon did I have but my body? Well, I am even with you now. And I am free. I shall go where I please. (GirishKamad, 1960:p. 29) Devayani declares that she is making Sharmishtha free from her slavery and she is ready to send her home. Sharmishtha asks Devayani about which home she is talking. She states that she has promised her father that she shall be her (Devayani's) servant for life. Devayani remarks that she treated Sharmishtha with compassion but she is an evil beyond redemption. Devayani talks this to refer to her behavior with Sharmishtha and further says that she does not want Sharmishtha to be there and she shall arrange

188 for her to go instantly. Yayati forbids her to go. Sharmishtha thanks the King. She states that she is under no obHgation to obey. She is not his subject. Yayati orders Swamalata to tell the guards that this lady (Sharmishtha) will go anywhere she likes in the Kingdom but she is to be kept under strict surveillance. Devayani objects to this decision by the King. Devayani tells the King that he has enough concubines to keep him occupied. Devayani indirectly asks if the King wants her (Sharmishtha) to be his concubine. Sharmishtha questions if she herself is going to be his concubine. She tells Devayani that she must be joking. She agrees with her and tells her that she has got King Yayati in the bed with her. That was her revenge on Devayani. She informs Devayani that being a slave, she did not have any other weapon except her body. She remarks that she is even with Devayani now and she is free to go where she pleases. Sharmishtha uses demonstrative 'that' to refer to her desire about what she wanted from the King to take her revenge on Devayani. The demonstrative "that' indicates the past reference as Sharmishtha has succeeded in sharing the bed with the King. The past reference reveals several things about Sharmishtha, her thinking and her act in the earlier discourses, which are mentioned by the demonstrative 'that'. Therefore, the demonstrative 'that' is used as a discourse deixis.

4.2.6 Girish Karnad: Yayati: Discourse Deixis: Six

DEVAYANI: Please, take as many wives as you want. I don't care. But not this reptile. Not her.

YAYATI: But why not?

DEVAYANI: Just send her away. I beg of you.

SHARMISHTHA: Let me go, sir. She doesn't want me here. And I don't want to be here. For once, Devayani and I are in perfect accord.

YAYATI (genuinely surprised): Why are you being so difficult? Are you afraid of her? Or are you being nice to her? (Firmly) My answer to both of you is sorry, my mind is made up.

189 SHARMISHTHA (calmly): Well then. I know I am doomed. If you are so keen to join me, so be it. But don't blame me later.

(The beating of drums is heard And the tumult of the crowds.)

Where is this guard who is supposed to keep an eye on me? 1 suppose Swama will point him out.

(Exists.)

YAYATI: Come, devi. You have to welcome the Prince. He must be nearing the palace.

(GirishKamad, 1960:p.30)

ANALYSIS: DISCOURSE DEIXIS

Devayani wants Sharmishtha to go home as she (Sharmishtha) plays several tricks with Devayani to make her unhappy. Devayani orders Sharmishtha to go away but King Yayati tells Devayani that Sharmishtha will be there in his empire but under strict surveillance. Devayani asks the King whether he wants Sharmishtha as his concubine. King remarks that Sharmishtha will not be his concubine but she will be his queen. Devayani denies that by telling the King that he can take many wives but he will not take Sharmishtha. King asks for the reason, Devayani tells him to send her away. Sharmishtha requests the King to let her go and says that Devayani and she (Sharmishtha) are in perfect accord, agreement in this. King Yayati asks whether she (Sharmishtha) is afraid of Devayani or she is being nice to her. The King tells them both that he is sorry but he has made up his mind to make Sharmishtha his queen. Sharmishtha remarks if the King is so keen to join her so let it be, but he need not blame her later. She (Sharmishtha) leaves asking the guard who is supposed to keep a watch on her. King Yayati tells Devayani that she has to welcome the Prince when he comes in the palace.

Discourse deixis elements in the above are: 'but', 'well then', Sind 'it'.

190 4.2.6.i YAYATI: But why not? (Girish Kamad, 1960: p.30) Devayani wanted Sharmishtha to free from her slavery and to send her home. She orders her to go home. King Yayati forbids her from going and orders Swamalata to tell the guards that she must be kept under surveillance. Devayani objects to this by stating that he has enough concubines to occupy him. Sharmishtha says she must be joking and says she herself has got the King into the bed with her. It was her revenge on Devayani. Yayati says that he is not making Sharmishtha his concubine but he is making Sharmishtha his queen. Devayani requests him that to take as many wives as he wants. She does not care about that but not that reptile, not Sharmishtha. King Yayati questions her but why not her. He wants to know the reason for her denial. He uses the conjunction 'but' to ask and to find out the reason for Devayani's disapproval of his decision of making Sharmishtha his queen. Being a King he can marry several women and he is willing to marry Sharmishtha but Devayani disagrees with this decision of his. The conjunction 'but' is used to find out the reason for Devayani's disagreement with King Yayati about making Sharmishtha his queen. Here, the conjunction 'but' is used as a discourse deixis.

4.2.6.ii SHARMISHTHA (calmly): Well then. I know I am doomed. If you are so keen to join me, so be it. But don't blame me later. (Girish Kamad, 1960: p.30) Devayani requests Yayati not to make Sharmishtha his queen. She tells him to take as many wives as he wants but not Sharmishtha. The King asks about the reason of not making Sharmishtha a queen. Devayani requests to send her away. She says that she begs of him. Sharmishtha says to King Yayati to let her go. As Devayani does not want her to be there. She herself too does not want to be there. She further says that for once they both Devayani and herself are in a perfect agreement. King Yayati asks Sharmishtha why she is being so difficult. 'Is she afraid of Devayani or is she being nice to her?' He says his answer to both of them is that he is sorry but he has made up his mind. Sharmishtha calmly replies to this by saying well then, she knows she is doomed and asks him if he is so keen to join her, so be it. She tells him not to blame her later. In the above contexts Sharmishtha uses 'well then' as a result of King's

191 insistence on making her his queen. Considering what is stated by the King Sharmishtha utters 'well then' and accepts the decision made by the King. Here, 'well then' refers to her response of readiness to accept the King's decision, which is based on King's words spoken earlier in the discourse. Therefore, 'well then' is used as a discourse deixis.

The third person pronoun 'it' in the above utterance refers to the situation and Sharmishtha's agreement to support the King's decision to make her (Sharmishtha) his queen. The King is so keen to join her, and so she too agrees to accept his decision but requests him not to blame her later. She conveys her approval to the King's decision of making her his queen. The third person pronoun "it' refers to the situation and her acceptance of the King's decision. Therefore, 'it' is used as a discourse deixis.

Sharmishtha uses the conjunction 'but' in the above context to refer to the consequences which will take place in fiiture, if King Yayati makes her his queen. She must not be blamed for anything in future when she agrees to become Yayati's queen. The conjunction 'but' refers to her thinking about the future consequences of her being his queen, and her desire of not to be blamed for that. Therefore, the conjunction 'but' is used as a discourse deixis.

4.2.7 Girish Karnad: Yayati: Discourse Deixis: Seven

YAYATI: (enraged)Who said so?

POORU: I did. I agreed with them. I had not the slightest inclination to follow in the steps of my illustrious forefathers. I found their deeds pompous. I was bored by the hermitage, unembarrassedly. I wanted to run away from all that it represented: that history, those triumphs, those glorious ideals.

(Pause.)

I wanted to be back here—in this palace—in this room.

YAYATT. Pooru, what do you want? Why...

192 POORU: Here in this room there was something to look for. Something to brood over.My mother's memory.The memory of her face.Floating bodyless like the moon. Was she beautiful?

YAYATI: Yes. she was. I have told you that a hundred times. '

POORU: Of course. And you added, 'A Bharata prince would not have married a woman not beautiful'. Stupid of me to keep asking. But 1 can only sense the face. I keep feeling the need to fill in the details.

(Girish Kamad, 1960: pp. 35-36)

ANALYSIS: DISCOURSE DEIXIS

This passage reports a conversation between the King and his Prince Pooru. The King asks Pooru about his marriage but he (Pooru) does not tell all the details as he is disappointed with few things. They both talk about their lives, forefathers; Pooru seems to be unhappy with his own past life. Pooru visits the chamber and requests the King to sit there for a while. The King tells Pooru that, the chamber has always been Pooru's favourite chamber. Prince Pooru tells the King that he wanted to be there (in the palace) as he was bored by the hermitage (where he lived). He wanted to run away from that place. He wanted to be back in the palace. King Yayati asks the reason. 'What does he want?' Pooru remembers his mother (in the room where she lived) and he wanted to spend his time with his mother's memory in that room. Pooru asks the King about his mother whether she was beautiful. King utters that he has told the same a hundred times. Pooru says he is stupid as he keeps on asking about his mother but he can only sense the face.

The occurrences of discourse deixis in the above passage are: 'that' and 'but'.

4.2.7.i YAYATI: Yes, she was. I have told you that a hundred times. (Girish Kamad, 1960: p.36) Pooru comes to the palace with his bride. Yayati and Pooru try to cover up past few years through their discussion. Pooru and Yayati visit a Chamber. Pooru desires to sit there for a while. King Yayati says it has always been Pooru's favourite chamber. He

193 tells the King that he wanted to run away from the hermitage. He was bored by the hermitage. He wanted to be back there in the palace in that room. King Yayati questions him about the reasons of this. And why. Pooru says that there was something in that room to look for, something to brood over. He further remarks about his remembering his mother and moreover memory of her face. Pooru questions the King about his mother and about her being beautiful. The King replies in the affirmative. She was beautifiil and King Yayati has told Prince Pooru that a hundred times. Pooru does not remember his mother's face. He wanted to spend his childhood in his mother's chamber, with his mother's memory. He does not know the reason why no one talks about his mother. He repeatedly asks his father whether she was beautiful. Yayati uses demonstrative 'that' to answer his question. The demonstrative 'that' used to refer to the past reference in the ongoing process of communication. The demonstrative 'that' is used to refer to what was told by the King to Pooru. Therefore, 'that' is used as a discourse deixis.

4.2.7.ii POORU: Of course. And you added, 'A Bharata prince would not have married a woman not beautiful'. Stupid of me to keep asking.But 1 can only sense the face. I keep feeling the need to fill in the details. (GirishKamad, 1960:p.36) Pooru is quite serious about his mother. Pooru tells his father the King that he wanted to spend the time in his childhood in that room with the memory of his mother. He loved that chamber where his mother used to live. He asks the King whether his mother was beautiful. The King replies in affirmative and that he has told the same to him several times. Pooru remembers what the King said, as he (Yayati) being a Bharata prince would not have married a woman who was not beautiful. He further adds to this that he can only sense her face. His mother died when he was very young. He does not remember her face. He likes to spend his time with his mother's memory. He always asks the King, "Was his mother beautiful". He considers himself stupid to keep on asking the same. He says that he can only sense her face. He uses the conjunction 'but' to refer to his notion of his mother's beauty, as he does not know how exactly she looked like. Here, the conjunction 'but' is used as a discourse deixis.

194 4.2.8 Girish Karnad: Yayati: Discourse Deixis: Eight

YAYATI: Surely she didn't say that?

POORU: No, she did not. Actually, when she was recounting all the confusion I had managed to create in their plans, she was laughing. Not at me. But at her own family.At their pretensions.Their eagerness to snare me. That is what I like about her: she is intelligent, loving, full of fUn; but also honest and practical. She accepts me as I am, a fact to live with.

(Pause.)

But deep down, I can sense her disenchantment. She deserved someone worthy of her. Under the circumstances, I couldn't have made a more felicitous choice. She wants a son. And so do I.

YAYATI: Good. It is gratifying to know you realize you owe the family something.

(Girish Karnad, 1960: p.37)

ANALYSIS: DISCOURSE DEIXIS

Prince Pooru tells the King about his marriage. Chitralekha's father had invited princes from the whole country and organized an archery contest for all but the contest had to be cancelled at the last moment. Prince Pooru did not pay any attention to that cancellation and it had been decided long in advance that Chitralekha should marry the Bharata prince. She intended to become the queen of Aryavarta. There was a simple archery contest as it was child's play for someone from the great empire. The prince says they (Chitralekha and her father) did not need him but any male figure from his (Pooru's) palace. He fiirther says a door-keeper's statue would have done that. The King asks him who has stuffed all this nonsense in his mind. Pooru utters the name of Chitralekha, as she has been groomed for that moment since her birth and she finds him (Pooru calls himself Gormless). But he tells that she (Chitralekha) accepts him as he is as a fact to live with. He says that she wants a son so he too wants a son.

195 King Yayati feels happy and says that Price Pooru has realized that he owes something to his family.

Occurrences of discourse deixis in the above passage are: 'that' and '//'.

4.2.8.i YAYATI: Surely she didn't say that? (Girish Kamad, 1960: p.37) Pooru remembers how King Yayati was asking him about his marriage and how he had never answered the question. He explains that Chitralekha's father had invited princes from the whole country and organized an archery contest for them. The contest had to be cancelled at the last moment. King Yayati asks the reason for the cancellation of the contest. He says he did not know it at that time but realized later as it had been decided in long advance that she should marry the Bharata prince, as she was destined to become the queen of Aryavarta. The contest was manipulated and it depended on the skills of Pooru. He remarks that actually they did not need him, but needed some male figure from his palace. He further says that a door-keeper's statue would have done that. King Yayati questions him as to who has stuffed that nonsense in his head. He utters the name of Chitralekha, he says she told him all that, and questions Yayati why he calls it nonsense. He further says that from her birth she has been groomed for that moment and that when it arrived they found him. He refers to himself as 'gormless me'. King Yayati is stunned to listen Chitralekha's name as Pooru told him that she (Chitralekha) told him about the contest. He (Pooru) refers to himself as gormless. Yayati questions him surely Chitralekha did not say that. Here, the demonstrative 'that' indicates the past reference in the ongoing process of communication. Therefore, demonstrative 'that' is used as a discourse deixis.

4.2.8.ii YAYATI: Good. It is gratifying to know you realize you owe the family something. (Girish Kamad, 1960: p.37) Pooru tells his father everything about his marriage with Chitralekha. He tells him that Chitralekha deserved someone worthy of her. Under the circumstances, he could not have made a more felicitous choice. He says that she wants a son, so does he. King Yayati feels happy to listen to this news. King Yayati says it is that pleasing to know

196 that he realizes he owes something to the family. Here, the third person pronoun it' refers to the following part of discourse, and Yayati uses 'it' to refer to the forward pointing. The third person pronoun 'it' is used to refer to the realization of owing something to his family. Therefore, the third person pronoun 'it' is used as a discourse deixis.

4.2.9 Girish Karnad: Yayati: Discourse Deixis: Nine

YAYATI: Shall we move to the assembly hall?

POORU (ingoring him): I want to live in this room. Actually, I had asked for it to be our chamber.

YAYATI: That was the plan. But things went wrong. I'm sorry. We have got another room ready for you. But if you insist, we can have this room done up for you.

POORU: No, no. What I wanted to know was: can Chitralekha use that other room while I use this one—for just one evening?

YAYATI (scandalized): What are you talking about? Do you want to keep your bride away from you?

POORU: No, I don't. But just now—when she stepped in here—suddenly it was like a violation of this air. Desecration. This room is mine. It is a sanctum that belongs to me—only me—and my memories. I don't want a third person to come in. At least, not today.

YAYATI: Will you explain that to her? No one else can.

POORU: I will. There is so much I haven't told her. About my mother's face about that deathly silence which surrounds that face. I haven't warned her that no one talks about my mother in this palace: she is conundrum. Untouchable.

(Girish Karnad, 1960: p.37)

197 ANALYSIS: DISCOURSE DEIXIS

This passage presents the conversation between the King and his son Pooru. Pooru visits the room where his mother lived. He tells the King that he wanted to spend the time of his childhood in that room. The King asks him to move to the assembly hall but he (Pooru) ignores by saying that he loves that room and that he wants to live in that room. He says that he wanted that room to be their (for both husband and wife) chamber. The King says it was the plan but things went wrong so they have got another room ready for him. Pooru insists to be there in that room and asks the King to tell Chitralekha to use another room for one evening. The King is surprised and asks him whether he wants to keep his bride away from him. He says he does not want to keep her away but he wants to be there alone in that room as the room belongs to him and he does not want any third person to come in that room at least for that day. King Yayati says only he (Pooru) can explain the same to Chitralekha. Pooru remarks that he will explain it to her as he has to tell her several things about his mother, her face. He says that nobody talks about his mother as if she was a conundrum and untouchable.

Occurrences of discourse deixis in the above passage are: 'actually' and 'that'.

4.2.9.i POORU (ignoring him): I want to live in this room. Actually. 1 had asked for it to be our chamber. (Girish Kamad, 1960: p.37) Pooru tells Yayati several things about his desires what he wanted to do in his childhood. He says that he wanted to be there in that chamber to spend his childhood with the memory of his mother. Pooru feels happy whenever he visits the chamber where his mother lived. Pooru and King Yayati were there in that chamber. After a long discussion Yayati suggests Pooru to move to the assembly hall. Pooru ignores that and says that he loves that room. He wanted to live in that room. He says actually, he had asked for that room to be their chamber. He uses the word •actually' to refer to his own wish about that chamber. He had earlier asked for the chamber to be ready for them. When he visited the chamber it was not ready. So the word 'actually' refers to his expectation about the chamber and the chamber was not ready

198 for them. Here, 'actually' refers to the demand which was made earlier, but that was not fulfilled in the current discourse. Therefore, 'actually' is used as a discourse deixis.

4.2.9.ii YAYATI: Will you explain that to her? No one else can. (Girish Kamad, 1960: p.37) Pooru says that he had demanded that room to be their chamber. Yayati replies that, it was planned but things went wrong. King Yayati says sorry for that. Another room is ready for him and Chitralekha. Pooru can have that room done up for them. Pooru replies in negative. What he wanted to know if Chitralekha could use that another room for just one evening and he wished to spend that evening in his mother's room. King Yayati surprisingly asks Pooru whether he wants to keep his bride away. He says he does not want to keep her away but when she stepped into that room, he felt like a violation of air, desecration. He says that, that room belongs to him and his memories. He does not want any third person to enter that room. At least, not for that day. King Yayati asks him to explain the same to Chitralekha, as no one else can explain that to her. The demonstrative 'that' refers to Pooru's wish to spend that evening in the chamber where his mother used to live. It is difficult to tell his bride as it is their first night after marriage and for everyone the first night is of great importance in marital life. King Yayati thinks that nobody else can tell this to Chitralekha. He, therefore, asks Pooru to tell her that. The demonstrative 'that' is used to refer to Pooru's wish to be alone from his bride on the first night of their marriage and his decision to spend the night in the chamber, where his mother lived. Here, the demonstrative 'that' refers to the words/situation mentioned earlier in the discourse. Therefore, 'that' is used as a discourse deixis.

4.2.10 Girish Karnad: Yayati: Discourse Deixis: Ten

SHARMISHTHA: Please, please, Prince. Only you can save His Majesty now. Please, hurry up and go. You mustn't waste fime.

POORU: Who are you?

YAYATI: What is this, Sharmishtha? What has happened to you?

199 (Pooru reacts to her name.)

SHARMISHTHA: There is no time to explain, sir. Please go. Before they leave town.

YAYATI: They? Who is 'they'? Have you gone mad?

SHARMISHTHA: The revered Shukracharya and Devayani. They are about to...

POORU: But why are they leaving? What has happened, Father?

SHARMISHTHA: Shukracharya is so incensed he has cursed His Majesty. Only you can save the situation now.

POORU: Curse?

YAYATI: What did you say? Curse? What curse? Why? Come on. Speak up.

SHARMISHTHA: Go, Prince. Hurry up and go.

(Girish Kamad, 1960: pp. 40-41)

ANALYSIS: DISCOURSE DEIXIS

Yayati tells Pooru the truth that his mother was a rakshasa woman and that the Aryas had destroyed her home. She had made sure that the Bharata prince had rakshasa blood in him and Aryas would be ruled by a King with a rakshasa blood. Pooru asks the King why he kept the truth hidden and why was his (Pooru's) life destroyed telling him lies. Their discussion goes on. Sharmishtha comes running in the hall and falls at Pooru's feet. She asks the Prince only he can save the King now. She keeps on requesting the Prince to go and stop Devayani and Shukracharya before they leave the town. The King and Pooru both are surprised to see her behaviour and ask for the reason. She says that Shukracharya is angry and he has cursed King Yayati and asks the Prince that only he can save the situation now. The King asks about the curse but she keeps on requesting the Prince to hurry up and go.

Discourse deixis elements in the above passage are: 'now', and 'hut'.

4.2.10.1 SHARMISHTHA: Please, please. Prince. Only you can save His Majesty now. Please, hurry up and go. You mustn't waste time.

200 SHARMISHTHA: Shukracharya is so incensed he has cursed His Majesty. Only you can save the situation now. (GirishKamad, 1960:p.40) Yayati and Pooru discuss few things about their past life. Yayati reveals the truth about Pooru's mother that she was a rakshasa woman and Aryas had destroyed her home and hearth. She had made sure that the head prince of the Bharata would have the rakshasa blood in him. Pooru questions him why he was not told this before. 'Why did he hide the truth?' He (Pooru) says that he hates King Yayati, his father and his hypocrisy. At this time Sharmishtha comes running in and falls at Pooru's feet. She requests the Prince to save the King now. She requests him to hurry up and go, and not to waste the time. She hurriedly utters some words. The Prince and King Yayati are unable to understand the situation. Yayati asks her what happened to her. She says there is no time to explain. She just asks Pooru to go before they leave. Yayati does not understand anything and asks her who they are. She replies that they are Devayani and Shukracharya. Pooru questions the reason of their leaving. He asks Yayati regarding what has happened. Sharmishtha tells him that Shukracharya has cursed the King. She tells Pooru that only he can save the situation now. King Yayati keeps on asking what curse. Sharmishtha explains that. Sharmishtha uses the word 'now' in both the utterances to refer to the ongoing discourse. She refers to the situation in which only Pooru can save the King 'now', from Shukracharya's curse. Sharmishtha says that only the Prince can save the King 'now'. The word 'now' is used to refer to the solution in the current portion of the discourse, which is based on the situation which was mentioned earlier in the discourse. Therefore, the word 'now' is used as a discourse deixis.

4.2.10.ii POORU: But why are they leaving? What has happened. Father? (GirishKamad, 1960: p.40) Sharmishtha comes running to the room and falls at Pooru's feet, requests him to save the King. King Yayati and Pooru do not understand anything; Yayati asks to tell them what has happened. She says that there is no time to explain. She requests. Pooru to go before they leave the town. Yayati gets angry and remarks that she has perhaps gone mad. King Yayati asks Sharmishtha to tell them who are they. Sharmishtha tells

201 that they are revered Shukracharya and Devayani. Pooru questions 'but why are they leaving? He asks Yayati about what has happened. Pooru is not aware of the situation. He does not know about Devayani's decision to make Sharmishtha free from her slavery. King Yayati told Devayani that he is making Sharmishtha his queen. She (Devayani) tells King Yayati that he can marry as many women as he wants but not Sharmishtha. Yayati tells Devayani that his mind is made up to marry Sharmishtha. Devayani conveyed the same to Shukracharya and he has cursed the King. As Pooru is familiar with Shukracharya and Devayani it was unexpected for him to listen that they both are leaving. He asks about their leaving using the conjunction 'but', it shows his contradictory thinking about the leaving of Devayani and Shukracharya. As per the situation they both are expected to stay there, but as he listened unexpectedly about their leaving so he asks but why are they leaving. The conjunction 'but' refers to his contradictory thinking about the leaving of Devayani and Shukracharya, therefore, the conjunction 'but' is used as a discourse deixis.

4.3 ANALYSIS OF DISCOURSE DEIXIS IN TUGHLAQ

4.3.1 Girish Karnad: Tughlaq: Discourse Deixis: One

AZAM: Please a little slowly. I—you know I'm not very bright. But what's the point? I mean the land was confiscated, wasn't it?

AZIZ: Exactly, that's what he said too. But I said, 'Never mind about that'. So he sold me the land—backdating the contract. And I filed my suit. Well, here I am. Five hundred silver dinars for nothing, and a job in His Merciful Majesty's own Civil Service.

AZIZ: But what if he had cut off your head instead?

(Aziz Laughs.)

Anyway, why did you have to dress up in these ungodly clothes?

Couldn't you have come like a Muslim?

202 AZIZ: (Scandalized). But then what would happen to the King's impartial justice? A Muslim plaintiff against a Muslim king? I mean, where's the question of justice there? Where's the equality between Hindus and Muslims? If on the other hand the plaintiffs a Hindu... well, you saw the crowds.

AZAM: Complicated!

AZIZ: It's a bit too subtle for you. Anyway here's my officer. From tomorrow I join the Civil Service. Why don't you come along too? I'll get you a job under me. You know, a Brahmin with a Muslim friend—the Sultan will like that.

AAZAM: Come along. It won't be for long. I didn't intend to be a Brahmin all my life! There's money here and we'll make a pile by the time we reach Daulatabad.

(Girish Kamad, 1994:pp.l52-153)

ANALYSIS: DISCOURSE DEIXIS

The Brahmin Vishnu Prasad had filed a suit against the Sultan; the Kazi-i-Mumalik declares that Vishnu Prasad should receive a grant of five hundred silver dinars from the State Treasury as Sultan is guilty of illegal appropriation of land. After the judgement the Brahmin comes out of the court. Aazam wants to meet the Brahmin who had filed and won a suit against the Sultan. When Aazam sees the Brahmin he is stunned because he knows him (the Brahmin) very well and immediately recognizes him as they both are old friends. The Brahmin who is originally a Muslim Dhobi, named Aziz, has become the Hindu Brahmin to avail of the facility of land which was confiscated by the officers of the Sultan. Aazam asks Aziz (the Brahmin) how he has become the Brahmin. Aziz tells him about the Sultan's impartial judgement as he himself (the King Muhammad) had declared that people may file a suit against the Sultan himself for his officer's misbehaviour. Aziz explains everything to Aazam of his intention of becoming the Hindu Brahmin.

Occurrences of discourse deixis in the above passage are: 'that' and 'that'. ('That' has occurred twice in the above passage).

203 4.3.1.i AZIZ: Exactly, that's what he said too. But I said, 'Never mind about that'. So he sold me the land—backdating the contract. And I filed my suit. Well, here I am. Five hundred silver dinars for nothing, and a job in His Merciful Majesty's own Civil Service. (GirishKamad, 1994:P.152) Aazam recognizes Aziz who became Brahmin Vishnu Prasad, and had filed suit for the land which was confiscated by King Muhammad's officers. As King Muhammad said that there is equal justice for Hindus and Muslims in his Kingdom and people may file a suit against the Sultan (King) himself for the misbehaviour of his officers. Aziz also recognizes Aazam. They both talk about their old days. Aazam asks Aziz why he has become a Brahmin. Aziz tells him everything. He tells him that there is a Brahmin called Vishnu Prasad whose land has been confiscated by Sultan's officers recently. Aziz says he shaved his head and went to Vishnu Prasad and asked him if he would buy the land. Aazam interrupts him and asks him to be slow as he is not bright. He questions if the land was confiscated and Aziz decided to buy the land. Aziz utters the Brahmin told the same but Aziz told him never mind about that. Aziz uses demonstrative 'that' to refer to the situation as the Brahmin and Aazam think the land was confiscated and then how could he buy the land. Aziz told the Brahmin not to mind about that. The demonstrative 'that' refers to the situation which was earlier mentioned in the discourse. It also refers to past reference in the ongoing communication. Therefore, the demonstrative 'that' is used as a discourse deixis.

4.3.1.ii AZIZ: It's a bit too subtle for you. Anyway here's my officer. From tomorrow I join the Civil Service. Why don't you come along too? I'll get you a job under me. You know, a Brahmin with a Muslim friend— the Sultan will like that. (GirishKamad, 1994: p. 153) Aazam wants to meet the Hindu Brahmin who has filed a suit against the Sultan. Aazam meets the Brahmin but immediately recognizes him as he, the Brahmin, is his old friend Aziz. Aazam asks Aziz the reason to become the Hindu Brahmin. He tells him everything and asks him to come along with him Aziz will get a job under him

204 for Aazam as he has got a job as an officer in the Civil Service. The Sultan (King Muhammad) has already declared that there will be equality for all Hindus and Muslims in his Kingdom. Keeping in mind the same Aziz tells Aazam that the Sultan will like a Brahmin with a Muslim friend. Aziz uses demonstrative 'that' which refers to the preceding part of the discourse and helps to continue the ongoing discourse. Therefore, the demonstrative 'that' is used as a discourse deixis.

4.3.2 Girish Karnad: Tughlaq: Discourse Deixis: Two

MUHAMMAD: God, why didn't I think of that?

BARANI: But, Najib did. Your Majesty, and didn't warn you.

NAJIB: Would His Majesty have listened to me if I'd warned then?

His majesty loved Ain-ul-Mulk—^too much.

BARANI: And you hate him?

NAJIB: Dear Barani, not hate, just suspicion. It's my job to be suspicious and I can't exempt anyone from it.

STEP-MOTHER: Not even the Sultan?

NAJIB: (Senses a trap, but calmly.) No, not even the Sultan, Your Highness.

STEP-MOTHER: (Flaring up.) Muhammad—

(Muhammad silences her with a gesture of impatience.)

MUHAMMAD: So, Najib, what do you propose?

NAJIB: I can't think of anything right now. Your Majesty—except that the Sheikh has a striking resemblance to you.

(Muhammad, startled, stares at Najib.)

(Girish Karnad, 1994: pp. 159-160)

205 ANALYSIS: DISCOURSE DEIXIS

The passageabove relates a conversation about Ain-ul-Mulk's march on Delhi. Barani tells the King that there has been some misunderstanding about Ain-ul-Mulk, as he is a good man and worships the King. Barani says that there will be some way to find out why he is doing this. He requests the King to send an envoy to talk to Ain-ul- Mulk. Najib says this is nothing but wastage of their time. Najib reminds the King about Ain-ul-Mulk's work in Avadh, people in Avadh think him to be almost a God. A letter sent by the King, making Ain-ul-MuIk the Governor of Deccan has surprising Ain-ul-Mulk. He suspects the intention behind his transfer from Avadh to the Deccan. The King says that he never thought like that. Najib and Barani try to impress on the King by their communication. Najib says that it is his job to be suspicious and he cannot exempt anyone not even the Sultan. The King asks Najib what he proposes; Najib replies he cannot think of anything in the present situation.

The occurrences of discourse deixis in the above passage are: 'that' and '//'.

4.3.2.1 MUHAMMAD: God, why didn't I think of that? (GirishKamad, 1994:p. 159) King Muhammad prepares a plan to fight against Ain-ul-Mulk who is marching on Delhi. But the King and his officers do not know the reason for Ain-ul-Mulk's march on Delhi. Barani suggests to the King to send an envoy to him to know the reason. Najib says this is nothing but just a wastage of time. Najib tells the King that there was anarchy in Avadh and then the King made Ain-ul-MuIk the Governor of Avadh. He did several good things for the people, the people in Avadh think him to be almost a God . Ain-ul-Mulk was happy and secure there, but suddenly he gets the King's letter making him the Governor of Deccan asking him to leave Avadh immediately. It is surprising for Ain-ul-Mulk. It can be the reason why he has become suspicious. The King says that he never thought of that. The King uses demonstrative 'that' to refer to Najib's explanation about Ain-ul-Mulk's march on Delhi. The use of 'that' covers Najib's point of view to look at the situation about which the King did not think. Here, the demonstrative 'that' is used as a discourse deixis.

206 4.3.2.ii NAJIB: Dear Barani, not hate, just suspicion. It's my job to be suspicious and I can't exempt anyone from it. (Girish Kamad, 1994: p. 159) Najib tells the King the reason of Ain-ul-Mulk's march on Delhi. The King says he never thought of that. Barani tries to humiliate Najib by saying that Najib has never warned the King about that. Najib replies to this and says that it is his job to be suspicious and he cannot exempt anyone from it. Barani and Najib humiliate each other and try to show how the point made by the other one is inappropriate in that specific situation. Najib uses the above sentence to support his earlier talk as it is his job to be suspicious about each and every one. The third person pronoun 'it' refers to the backward pointing in the ongoing process of communication. It also refers to the preceding part of the discourse. Therefore, the third person pronoun 'it' is used as a discourse deixis.

4.3.3 Girish Karnad: Tughlaq: Discourse Deixis: Three

MUHAMMAD: (Suddenly.) I can't bear this any longer!

IMAM-UD-DIN: Why Your Majesty? You should be happy if no one turns up.

MUHAMMAD: Do you think I would have gone to the trouble of arranging this meeting if I didn't want my people to hear you? I don't wantmy people to hear you? 1 don't want my people to be dumb cattle, Sheikhsahib, and 1 do not claim to be omniscient myself. I am quite willing to learn from you—eager.

IMAM-UD-DIN: Will you be as eager when you hear me, I wonder? You know I am not the type to sweeten my words because the Sultan himself is present.

MUHAMMAD: Don't I know it? The whole of Delhi has heard of the courage and integrity of Sheikh Imam-ud-din. I would not have taken so much trouble for anyone else.

(Claps. A Servant enters and bows.)

Go at once and tell the Vizier I want everyone here—all the Khans, Amirs, Sardars— everyone—and at once!

207 IMAM-UD-DIN: But Your Majesty, I haven't come here to speak to a collection of courtiers—

MUHAMMAD: And I'm afraid I can't go now from door to door asking people to come. I should have given orders at the Court today. We have been waiting for over half an hour—and not a soul has come yet!

(Girish Kamad, 1994: p. 163)

ANALYSIS: DISCOURSE DEIXIS

King Muhammad invites Sheikh Imam-ud-din to address the people from his empire. Sheikh Imam-ud-din comes to address the people but no one is present to attend the meeting. The King remarks that he cannot bear the situation any longer as people do not come to attend the meeting. The Sheikh says to the King that he should feel happy as no one turns up. The Sheikh tells the people that King Muhammad has killed his father and brother; therefore, the King invites him to talk to the people in front of him. The Sheikh says that he will not speak sweet words as the Sultan himself is present to attend the meeting. The King orders his servant to tell the Vizier that the King wants everyone there to attend the meeting, all the Khans, Amirs, Sardars and everyone.

Occurrences of discourse deixis in the above passage are: 'this', 'because' and 'it'.

4.3.3.i MUHAMMAD: (Suddenly.) I can't bear this any longer! (Girish Kamad, 1994: p.l63) Sheikh Imam-ud-din is a saint and he spreads among the people the report that the King Muhammad has murdered his own father and brother. One day King Muhammad invites Sheikh Imama-ud-din to address the people from his empire. The Sheikh accepts his (King Muhammad's) invitation and comes to address the people. The Sheikh and King Muhammad stand at the Yard in front of the Big Mosque. There are few servants of the palace but no one else has come there to hear the speech. King Muhammad remarks that he cannot bear any longer the current situation at that moment when no one has turned up to hear the Sheikh. The Sheikh says to the King that you (the King) should feel happy if no one comes to hear him (the Sheikh). The Sheikh claims that the King has murdered of his own father and brother. King

208 Muhammad uses demonstrative 'this' to refer to the present situation as no one from his empire has come to hear the Sheikh. The demonstrative 'this' refers to the utterance itself and conveys the situation in the ongoing discourse, therefore, the demonstrative 'this' is used as a discourse deixis.

4.3.3.iil MAM-UD-DIN: Will you be as eager when you hear me, I wonder? You know I am not the type to sweeten my words because the Sultan himself is present. (GirishKamad, 1994:pl63) King Muhammad is aware of the fact that Sheikh Imam-ud-din spreads the reports among the people about the King himself that the King has murdered his own father and brother. In spite of his being aware of this fact King Muhammad invites Sheikh Imam-ud-din to address the people from his own empire in his own presence. Nobody has turned up to hear the Sheikh. They both the Sheikh and King Muhammad keep on talking. The Sheikh says he himself wonders about the King because the King is eager to hear him. He (the Sheikh) fiirther says he is not going to sweeten his words because the Sultan is present to hear him. The Sheikh uses the conjunction 'because' to refer to his own background knowledge. He claims that the King himself is responsible for the murders of his father and brother and he is not going to change or to sweeten words because the Sultan himself is present. The conjunction 'because" in this context refers to the background knowledge/information and provides a cause for not doing so, and continues the discourse. Therefore, the conjunction 'because' is used as a discourse deixis.

4.3.3.iii MUHAMMAD: Don't I know U? The whole of Delhi has heard of the courage and integrity of Sheikh Imam-ud-din. I would not have taken so much trouble for anyone else. (GirishKamad, 1994: p. 163) King Muhammad remarks that he cannot bear the situation any longer as no one has come to hear the Sheikh who was invited by the King to address the people. The Sheikh and the King keep on talking. The Sheikh says that he wonders as the King himself is present to hear him. He is not of course going to change his talk or will not sweeten his words as the King himself is present to hear the Sheikh. King

209 Muhammad replies that the Sheikh knows everything. The whole of Delhi has heard and knows the courage and integrity of the Sheikh. He says the King should not have taken so much trouble to invite to address the people for anyone else. The third person pronoun 'it' is used by King Muhammad to refer to the courage and integrity of the Sheikh as it is observed and realized by the people in earlier discourse. The use of the third person pronoun 'it' indicates the past reference about the Sheikh's sincerity, honesty and courage. Therefore, 'it' is used as a discourse deixis.

4.3.4 Girish Karnad: Tughlaq: Discourse Deixis: Four

IMAM-UD-DIN: My turn to congratulate you. Your experience was a brilliant success. Yes, I have learnt my lesson. Thank you—and good bye.

MUHAMMAD: Good-bye? You are not going?

IMAM-UD-DIN: You have finished my work for me. You don't want me to wait longer, do you? For an audience which won't turn up?

MUHAMMAD: I need your help, Sheikhsahib.

IMAM-UD-DIN: Don't play any more games with me—

MUHAMMAD: There's no time for games. I am desperate. Ain-ul-Mulk of Delhi is marching on Delhi at this very moment.

IMAM-UD-DIN: What? Your intimate friend and confidant? Why? No, 1 don't wish to know why. That's politics and you know your way there. But why tell me this?

MUHAMMAD: Because I want peace. I am willing to make peace how can 1 do it? I don't even know why he has turned against me. He won't even see my official envoy. (Pause.) But will see you.

(The Sheikh is about to speak. But Muhammad goes on.) He respects you as every Muslim in India does. He will trust your word. That's why I am asking you—will you please go as my envoy and dissuade him from this folly? Please Sheikhsahib, I'm not

210 asking you only for my sake but for all the Muslims who will die at the hands of Muslims if there is a war.

(Pause.)

IMAM-UD-DIN: I don't trust your motives.

(Girish Kamad, 1994: pp. 166-167)

ANALYSIS: DISCOURSE DEIXIS

The passage reports a conversation between King Muhammad and Sheikh Imam-ud- din about the people who have not come to attend the meeting to hear the Sheikh. The King says when people heard that the Sultan (the King) has organized a meeting in which the Sheikh, Sultan's severest critic, is going to speak, from that moment the people have become suspicious and they will now decide you are a spy and they will treat you as a spy. The Sheikh congratulates the King saying that it was a brilliant success of King's experiment. The King asks the Sheikh to help him. to go as his (King's) envoy to talk to Ain-ul-Mulk. Initially the Sheikh denies by saying he does not trust his (King's) motives. The King cleverly and successfully convinces the Sheikh to be his envoy.

The occurrences of discourse deixis in the above passage are: 'but', 'this', and 'because'.

43A.il MAM-UD-DIN: What? Your intimate friend and confidant? Why? No. I don't wish to know why. That's politics and you know your way there. But why tell me this? (Girish Kamad, 1994:p. 166) King Muhammad tells the Sheikh that people will call him (the Sheikh) a spy of the King as the King invited his most severe critic to address the people. He has come to address the people but no one has turned up to hear the Sheikh. The King tells him that people are suspicious about him and from now on they will look at the Sheikh as a spy of the Sultan. The Sheikh congratulates the King upon his experiment and its' brilliant success. The Sheikh says that he has learnt his lesson. He bids him good bye.

211 The King asks him (the Sheikh) for his help. The Sheikh tells him not to play any more games with him. The King replies that there is no time for games. The King tells about Ain-ul-Mulk's march on Delhi. The Sheikh is surprised to hear that. He hears from the King that the King's intimate friend and confidant Ain-ul-Mulk is marching on Delhi. The Sheikh does not wish to know the reason. He says that it is politics and that the King knows his way there. The Sheikh then questions the King the reason behind telling him all this. The Sheikh uses the conjunction 'but' to ask the King, "What is his purpose in telling him that?" The Sheikh is a saint and claims that the King has murdered his father and brother and spreads this report among the people. The King invites him to address his people but no one turns up. The Sheikh has nothing to do with Ain-ul-Mulk's march on Delhi so he asks why the King has told him all that. The conjunction 'but' marks the Sheikh's contradictory response to the situation. Therefore, the conjunction 'but' is used as a discourse deixis.

The demonstrative 'this' occurs as a discourse deixis in the above context as the Sheikh asks the King why he has told him 'this'. Here, 'this' refers to King's telling him about Ain-ul-Mulk's march on Delhi. The demonstrative 'this' refers to the preceding part of the discourse. Therefore, 'this' is used as a discourse deixis.

4.3.4.ii MUHAMMAD: Because I want peace. I am willing to make peace how can I do it? I don't even know why he has turned against me. He won't even see my official envoy. (Pause.) But he will see you. (GirishKamad, 1994:p.l66) King Muhammad tells the Sheikh that the King needs his help. The Sheikh does not believe this. He tells the King not to play another game with him. The King says there is no time for game and he further tells him that Ain-ul-Mulk is marching on Delhi. The Sheikh questions the King as to why he tells all this to the Sheikh, as he has nothing to do with that. The King replies that because he wants peace and he (the King) is willing to make the peace but how can he do it. He does not know as to why Ain-ul-Mulk has turned against the King. He says that Ain-ul-Mulk will not even see his official envoy, but he will see the Sheikh. King Muhammad cleverly tries to convince the Sheikh to be his envoy to see Ain-ul-Mulk. The King uses conjunction 'because' to provide a cause to answer the Sheikh's question. The conjunction

212 "because' supports King's explanation in his answer to the Sheikh's question. He cleverly gives an explanation to convince the Sheikh to be his envoy to see Ain-ul- Mulk. Here, the conjunction 'because' is used as a discourse deixis.

The third pronoun 'it' used by King Muhammad refers to the preceding part of the discourse. The King tells the Sheikh that he himself is willing to make the peace but he does not know how he can do it. One can also come to know about the utterance which is cleverly made by the King to give importance to the Sheikh. He says Ain-ul- Mulk will not even see King's official envoy but he will see the Sheikh. The Sheikh, therefore, can go and talk to Ain-ul-Mulk about making peace. Here, the third person pronoun 'it' is used to mark the backward pointing in the ongoing process of communication. Therefore, 'it' is used as a discourse deixis.

4.3.5 Girish Karnad: Tughlaq: Discourse Deixis: Five

SHIHAB-UD-DIN: What's that got to do with Sheikh Imam-ud-din?

RATANSINGH: I don't know. But I tell you Fm glad to escape the Sultan's impartiality and be alive.

SHIHAB-UD-DIN: Must you spin riddles?

RATANSINGH: And do you really want to know the truth? All right. Because, you insisted, I went to fight alongside the Sultan. I went and saw him in Kanauj. He didn't seem too pleased to see me. He actually scowled. A Sultan's scowl is a terrible thing.

SHIHAB-UD-DIN: So?

RATANSINGH: Next day I see what the scowl is doing. Sheikh Imam-ud-din is to go and propose peace to Ain-ul-Mulk. A platoon of soldiers is to accompany him. And 1 am placed in the front rank of the platoon. You know what that means. The front rank never survives a battle.

SHIHAB-UD-DIN: Go on.

(Girish Karnad, 1994: p. 172)

213 ANALYSIS: DISCOURSE DEIXIS

This passage reports a conversation between Ratansingh and Shihab-ud-din. Ratansingh tells Shihab-ud-din that he has never seen an honest scoundrel like his King. King Muhammad convinces Sheikh Imam-ud-din to go as his envoy to talk to Ain-ul-Mulk to propose peace. The Sheikh goes there with King Muhammad's army and the King's army began the battle. In that battle the Sheikh dies. It was the plan of the King Muhammad to send the Sheikh as his envoy, and he was murdered there. Therefore, Ratansingh calls the King an honest scoundrel. He murders a man and then enjoys the feeling of guilt. Shihab-ud-din says he never liked the Sultan. Both argue about Sultan's decision about several things. Ratansingh feels happy to be alive and to escape from the Sultan's impartiality. Ratansingh says he went to fight alongside the Sultan in Kanuj but the Sultan did not seem to be pleased to see him. He scowled while looking at him there and a scowl of a Sultan is a terrible thing. The King placed Ratansingh in the front rank of the platoon and he remarks that the front rank in the battle certainly never survives.

Discourse deixis elements in the above passage are: 'but', 'because' and 'actually'.

4.3.5.i RATANSINGH: I don't know. But I tell you I'm glad to escape the Sultan's impartiality and be alive. (GirishKamad, I994:p.l72) Ratansingh understands King Muhammad's conspiracy to murder (kill) Sheikh Imam- ud-din. He (Ratansingh) tells Shihab-ud-din that his Sultan is an honest scoundrel. He just calmly murders people and then mourns for them. Shihab-ud-din tells him that he never liked the Sultan and that the Sultan is impartial with both Hindus and Muslims. Shihab-ud-din asks him about the Sheikh. He says he does not know, but he tells he is glad to escape from the Sultan's impartiality and to be alive. Ratansingh uses the conjunction 'but' to show his opposition to whatever Shihab-ud-din thinks about the Sultan. As Ratansingh understands everything about the murder of Sheikh Imam-ud- din in the battle, and remarks it was the conspiracy to kill the Sheikh. Therefore, he uses the conjunction 'but' to show his opposition to the thinking of Shihab-ud-din on

214 the Sultan's impartiality. Therefore, the conjunction 'but' is used as a discourse deixis.

4.3.5.ii RATANSINGH: And do you really want to know the truth? All right.Because, you insisted, I went to fight alongside the Sultan. 1 went and saw him in Kanauj. He didn't seem too pleased to see me. He actually scowled. A Sultan's scowl is a terrible thing. (Girish Kamad, 1994: p. 172) Ratansingh tells everything to Shihab-ud-din about what has happened in the battle. When Ratansingh says that the Sultan is an honest scoundrel and that he kills the people and mourns for them, Shihab-ud-din replies that he is saying so because he Ratansingh never liked the Sultan. The Sultan is impartial for both, for the Hindus and for Muslims. Ratansingh says because of Sultan's impartial decision several Hindus and Muslims are dying. Shihab-ud-din aks him about the Sheikh. He says that he does not know, Shihab-ud-din asks him to tell everything clearly. Ratansingh asks him whether he really wants to know the truth. He continues telling that as he (Shihab-ud-din) has insisted so he (Ratansingh) went to fight alongside the Sultan. But the Sultan was not pleased to see him. The Sultan scowled looking at him. Ratansingh uses the conjunction 'because' to refer to the previous information about Ratansingh's act of going to help the Sultan. Sultan was not pleased to see Ratansingh. The conjunction 'because' provides a cause for Ratansingh's act. Therefore, 'because' is used as a discourse deixis.

Another word, 'actually' in the above context, is also used as a discourse deixis. The Sultan did not expect Ratansingh to be there in Kanauj. As it was the conspiracy to kill the Sheikh Imam-ud-din, Sultan wants nobody should know about this. Unexpectedly, Ratansingh arrives in Kanauj so the Sultan is not pleased to see him. Ratansingh uses the word 'actually' to refer to the Sultan's scowl. The Sultan's reaction to Ratansingh's arrival was unexpected for Ratansingh. As anyone feels happy if someone comes to help him but here, the Sultan feels unhappy for Ratansingh's arrival and he (the Sultan) scowls looking at him. Initially. Ratansingh did not understand why the Sultan scowled but later on he realized the meaning of the

215 Sultan's scowl. The word 'actually' refers to the Sultan's unexpected response to Ratansingh's arrival in Kanauj, Therefore, 'actually' is used as a discourse deixis.

4.3.6 Girish Karnad: Tugblaq: Discourse Deixis: Six

RATANSINGH: The Sheikh is delighted about being the Sultan's peace emissary. He looks gorgeous—all dressed up in royal robes, a royal turban, even royal slippers, and sitting on the royal elephant. In fact he looks exactly like the Sultan.

SHIHAB-UD-DIN: (Suspicious.)And the Sultan? What was he doing?

RATANSINGH: I didn't know it then, but he was hiding behind some hills with the rest of the army. Laying the trap.

SHIHAB-UD-DIN: A trap?

RATANSINGH: So we marched towards Ain-ul-Mulk's army, led by the gorgeous Sheikh on the royal elephant. The elephant halted about a hundred yards away from the enemy. The Sheikh stood on it and tried to say something when a trumpeter on our side sounded the charge! The battle was on—yes, my dear Shihab, Ain-ul-Mulk didn't start the battle. We did!

SHIHAB-UD-DIN: And the Sultan?

SHIHAB-UD-DIN: I couldn't understand what was happening. Neither did the Sheikh, obviously. His face was twisted with fear but he was shouting at the top of his voice asking us to stop. He didn't stand a chance. Arrows poured into him and within minutes he looked a gory human porcupine.

SHIHAB-UD-DIN: And Sultan? Didn't he do anything?

RATANSINGH: He did! The Sheikh plunged down from the elephant and over his corpse we fled in confusion. The enemy was convinced the Sultan was dead and they pursued us. They walked right into the trap. It was the bloodiest massacre I've ever seen... We won! (Pause.) Sheikh Imam-ud-din was murdered, you know. In cold blood.

216 SHIHAB-UD-DIN: Oh my God!

(Girish Kamad, 1960:pp.l72-173)

ANALYSIS: DISCOURSE DEIXIS

Ratansingh tells Shihab-ud-din that the Sheikh was murdered in the battle. He explains that the Sheikh was delighted to be the King's envoy to go and talk to Ain- ul-Mulk to propose peace. The Sheikh and others were dressed up in royal robes, and the Sheikh was sitting on the royal elephant. He looked exactly like the Sultan. Ratansingh told that he was placed in the front rank of the platoon, which never survives a battle. He says that they marched towards Ain-ul-Mulk's army.

The Sheikh was on the royal elephant. He stood up and tried to say something, the same time a trumpeter on their side sounded the charge. The battle was on. Ain-ul- Mulk did not start the battle. The Sheikh was twisted with fear. He was shouting and asking them to stop. He did not get a chance as arrows poured into him. It was the bloodiest massacre Ratansingh has ever seen. The Sheikh Imam-ud-din was murdered in cold blood.

Occurrences of discourse deixis in the above passage are: 'and', 'Wand 'but'.

4.3.6.i SHIHAB-UD-DIN: (Suspicious.)And the Sultan? What was he doing? (Girish Kamad, 1994: 172) SHIHAB-UD-DIN: And the Sultan? (Girish Kamad, 1994: 173) SHIHAB-UD-DIN: And Sultan? Didn't he do anything? (Girish Kamad, 1994: 173) Shihab-ud-din objects to whatever Ratansingh tells him. Ratansingh asks Shihab-ud- din whether he wants to know the truth and he continues telling about the murder of the Sheikh. He says the Sheikh was convinced by the King to be his envoy to talk to Ain-ul-Mulk. The Sheikh was dressed up in royal robe, a royal turban, sitting on the royal elephant. He exactly looked like the Sultan. Shihab-ud-din asks about the Sultan what he was doing at that time. Ratansingh says the Sultan was laying a trap. Ratansingh goes on telling that the Sheikh was sitting on the royal elephant. He

217 marched towards Ain-ul-Mulk's army. The Sheikh stood up on the elephant. He tried to say something, the same time a trumpeter on the Sultan's side sounded the charge and the battle was on. He says Ain-ul-Mulk did not start the battle but the Sultan's army did. Shihab-ud-din again asks about the Sultan. Ratansingh further tells that the Sheikh was shouting at the top of his voice asking them to stop. He did not get a chance, arrows poured into him and within minutes the Sheikh was dead. Shihab-ud- din was shocked to listen to this. In the above utterances Shihab-ud-din repeats the conjunction 'and' to know the position or the response from the Sultan and what he was doing, when the Sheikh was indulged into the trap which was laid by the Sultan. Shihab-ud-din repeatedly used the conjunction 'and' to know the Sultan's reaction as he Shihab-ud-din believed the Sultan. He never thought that the Sultan can do like that. Here, the conjunction 'and' is used to know the Sultan's reaction in the discourse. The repetition of 'and' has its focus on Shihab-ud-din's positive thinking for the Sultan's act as he must have done something to save the life of Sheikh, but it was not like that as he (Shihab-ud-din) expected. Therefore, the repetition of conjunction 'and' is used as a discourse deixis.

4.3.6.ii RATANSINGH: I didn't know it then, but he was hiding behind some hills with the rest of the army. Laying a trap. (GirishKamad, 1994: 172) Ratansingh tells Shihab-ud-din about how the Sheikh was murdered. He explains that the Sheikh was convinced by the Sultan to be his envoy to talk to Ain-ul-Mulk. The Sheikh was cleverly convinced and was dressed up in royal robes, a royal turban. He was sitting on the royal elephant. Shihab-ud-din asks him what the Sultan was doing then. Ratansingh replies he did not know it then, but he was laying the trap with the rest of army. The third person pronoun 'it' refers to the situation when the Sheikh was dressed up like the Sultan. The third person pronoun 'it' is used to refer to the past reference in the ongoing discourse. Therefore, 'it' is used as a discourse deixis.

Another word 'but' is used as a discourse deixis in the above context. Ratansingh had gone to help the Sultan in the battle. He was surprised to see the Sheikh who was dressed up like the Sultan and was sitting on the royal elephant. He did not understand anything at that moment but later on he realized the trap of Sultan.

218 Ratansingh tells the same to Shihab-ud-din, Shihab-ud-din asks him what the Sultan was doing when the Sheikh was dressed up like him. Ratansingh utters he did not know it then but the Sultan was behind the hills, laying the trap with the rest of army. Ratansingh uses the conjunction 'but' to show the Sultan's contradictory action, instead of saving the life of Sheikh, he (the Sultan) was laying the trap to kill the Sheikh. As the Sheikh was ready to talk to Ain-ul-Mulk as the Sultan's envoy, it was the duty of Sultan to save his (Sheikh's) life, but he was laying the trap to kill the Sheikh. Here, the conjunction 'but' is used to refer to the Sultan's contradictory action against the Sheikh. The conjunction 'but' is, therefore, used as a discourse deixis.

4.3.7 Girish Karnad: Tughlaq: Discourse Deixis: Seven

SHEIKH: So you don't know what actually happened behind the scenes?

SHIHAB-UD-DIN: Behind the scenes?

(More derisive laughter.)

SHEIKH: Yes, behind the scenes. It's true the Sultan invited the whole of Delhi to hear the Sheikh. Yet, on that very afternoon, soldiers went from door to door threatening dire consequences if anyone dared to attend the meeting.

(Silence.)

SHIHAB-UD-DIN: (Slowly.) Does the Sultan know this?

(More laughter.)

SHEIKH: They were his orders! And do you know, while the Sultan stood in front of the Great Mosque with the Sheikh and got more and more agitated at the empty auditorium, his soldiers were hiding in the streets around stopping those who tried to come? You don't believe it? Look here...

(Unbuttons his shirt and shows a wound on his shoulder.)

219 I tried to force my way to the Big Mosque and this is what 1 got for it. Who else would do this to an old man like me?

RATANSINGH: There, you see! That explains why he had to invite you from Sampanshahr to look after Delhi in his absence.

There's confidence for you!

SHIHAB-UD-DIN: (Doggedly.)?eThaps. But it's done me no harm.

RATANSINGH: Of course not. Had he meant to harm you, you wouldn't be here to talk about it!

(Girish Kamad, 1994: p. 176)

ANALYSIS: DISCOURSE DEIXIS

The passageabove relates a conversation which takes place in a house in Delhi, where Amirs, Sayyids, Shihab-ud-Din and Ratansingh have gathered. Sheikh Shams-ud-din Tajuddarfim tries to talk to Shihab-ud-din, but Shihab-ud-din does not recognize him. Sayyid introduces the Sheikh and Shihab-ud-din asks the Sheikh; what a holy man like him is doing in the company of these people. The Sheikh says that he is not interested in politics but worries about the people. The Sheikh asks whether Shihab- ud-din is aware of the situation after the Sultan has invited the Sheikh Imam-ud-din to address the people of Delhi. Shihab ud-din surprisingly asks him the same. So the Sheikh tells him everything that happened on that day when the Sultan invited the people of Delhi to hear Sheikh Imam-ud-din. The Sheikh asks Shihab-ud-din that why the King invited him to look after Delhi because he does not know anything about Sheikh Imam-ud-din and he will talk about it.

Occurrences of discourse deixis in the above passage are: 'this' and 'perhaps'.

4.3.7.i SHIHAB-UD-DIN: (Slowly.) Does the Suhan know tMs? (Girish Kamad, 1994: p. 176) Sheikh Shams-ud-din asks Shihab-ud-din whether he knows what happened on the day when the Sheikh Imam-ud-din was invited to address the people from King

220 Muhammad's empire. Shihab-ud-din asks what had happened on that day. Sheikh Shams-ud-din tells that on that day Sultan's soldiers went door to door of the people threating them of dire consequences if anyone dared to attend the meeting. Shihab- ud-din asks whether the Sultan knows this. Sheikh Shams-ud-din wants to convey it to him that the soldiers were sent by the Sultan himself Shihab-ud-din uses the demonstrative 'this' to refer to the situation which is mentioned earlier in the discourse. Therefore, the demonstrative 'this' is used as a discourse deixis.

4.3.7.ii SHIHAB-UD-DIN: fPossedlv. jPerhaps. But it's done me no harm.

(Girish Kamad, 1994: p. 176)

Sheikh Shams-ud-din tells Shihab-ud-din about the situation on that day when the Sheikh Imam-ud-din was invited to address the people. Ratansingh tells Shihab-ud- din, that explains why the Sultan had invited him to look after Delhi. There is confidence in him. Shihab-ud-din remarks that perhaps it was so, but it has done him no harm. Here, the word 'perhaps' refers to the possibility of the Sultan's decision to invite Shihab-ud-din to look after Delhi in his absence. The word 'perhaps' is used to show past reference/act in the ongoing discourse. Therefore, it is used as a discourse deixis.

4.3.8 Girish Kamad: Tughlaq: Discourse Deixis: Eight

GHIYAS-UD-DIN: Yes, I've heard all that. I'm not worried.

AZIZ: Recently he flogged a man to death, had his body filled with straw and strung up in the market place—all because the man claimed to be a descendant of the Prophet.

GHIYAS-UD-DIN: For a common thief you talk too much. What's your name?

AZIZ: Aziz, Your Worship and this is Aazam. I realize I sound impertinent. Your Worship. We are happy to follow you to Daulatabad, be your slaves to make up for our sacrilege. But Your Worship will forgive us for being worried about our necks—

221 GHIYAS-UD-DIN: You don't need to worry. I have got the Sultan's letters with me—and the ring he sent as a mark of recognition. (Shows the ring.) I know there are no precious stones in it. But that would have attracted too much attention.

(Girish Kamad, 1994: pp. 199-200)

ANALYSIS: DISCOURSE DEIXIS

This passage presents a conversation between Aziz and Ghiyas-ud-din. Aziz tells Ghiyas-ud-din that the Sultan is in a suspicious frame of mind. There are a lots of deaths since the Sultan came to Daulatabad. Ghiyas-ud-din says that he heard the same but he is not worried about that. Aziz tells him that the Sultan flogged a man to death; filled his body with straw and strung it up in the market because the man has claimed that he is a descendant of the Prophet. Ghiyas-ud-din asks Aziz his name and says he is a common thief and talks too much. Ghiyas-ud-din considers himself to be the descendant of Khalif Abbasid. Aziz tells his own name and also introduces Aazam. He tells Ghiyas-ud-din that they are happy to follow him to Daulatabad. But his worship will forgive them for being worried about death. Ghiyas-ud-din tells them that there is no need to worry.

Occurrences of discourse deixis in the above passage are: 'that' and 'because'.

4.3.8.i GHIYAS-UD-DIN: Yes, I've heard all that. I'm not worried. (Girish Kamad, 1994: p. 199) Giyas-ud-din tells Aziz and Aazam that he is the Guest of Honour of the Sultan. They both prostrate themselves in front of him. Aziz asks him to forgive them as it was a mistake of Karim that he did not recognize him as he was alone. He further says that he means the Sultan's Guest of Honour, from the holy family of Khalifs is alone. Giyas-ud-din calls him the slave and warns him to mind his business. As Giyas-ud-din tells that he is the descendant of Khalif Abbasid, Aziz deliberately says to him that he (Aziz) must warn him that the Sultan is in a suspicious frame of mind. They have heard this. He further reports that there have been a lot of deaths after the Sultan has come to Daulatabad. Giyas-ud-din replies to Aziz's words as he has also heard all that. The demonstrative 'that' is used by Giyas-ud-din refers to the past reference in

222 the ongoing discourse. Aziz tries to make Giyas-ud-din fearful about the Sultan and his behavior. But Giyas-ud-din tells him that he has also heard all that and he is not worried. The demonstrative 'that' is used to refer to the backward/past reference. Therefore, it is used as a discourse deixis.

4.3.8.ii AZIZ: Recently he flogged a man to death, had his body filled with straw and strung up in the market place—all because the man claimed to be a descendant of the Prophet. (Girish Kamad, 1994: p. 199) Aziz wants to present a fearful picture to Giyas-ud-din. Aziz speaks about the people who are killed by the Sultan since he has come to Daultabad. Giyas-ud-din says he has heard all that and he is not worried. After listening to this he (Aziz) tells him about the much focused death of the person who had claimed himself to be a descendant of the Prophet. He tells that recently the Sultan has flogged a man to death, the man's body was then filled with straw and the body was strung up in the market place. He says that the man was killed because the man claimed himself to be the descendant of the Prophet. To make Giyas-ud-din fearful and uncomfortable he tells him everything. Aziz uses the conjunction 'because' to refer the background information and provide a cause which is similar as Giyas-ud-din claims himself to be a descendant Khalif Abbasid. Therefore, the conjunction 'because" is used as a discourse deixis.

4.3.9 Girish Karnad: Tughlaq: Discourse Deixis: Nine

FIRST MAN: Prayer! Prayer! Who wants prayers now?

SECOND MAN: Ask them to give us food.

FIRST MAN: There's no food. Food's only in the palace. It's prayers for us.

SECOND MAN: The Amirs have food.

FIRST MAN: We starve and they want us to pray. They want to save our souls.

THIRD MAN: Is it true the Sultan has opened up his granary?

223 SECOND MAN: There was not a grain in it! Not a skin of paddy.

FIRST MAN: And they want us to pray.

THIRD MAN: The other day my younger brother came here from our village. He says it's much worse there. We are better off here, he says. They have to pay twenty grains of silver for a fistful of wheat. And the scenes he saw on his way here! Ugh!

SECOND MAN: (Gettingannoyed.) Hm...

THIRD MAN: He says the roads are lined with skeletons. A man starved to death right in front of his eyes. In Doab, people are eating barks off the trees, he says. Yes. and women have to make do with skins of dead horses.

(Girish Kamad, 1994: p.208)

ANALYSIS: DISCOURSE DEIXIS

The conversation in the above passage has taken place among the people at a plain outside the fort of Daulatabad where crowds of citizens are present. The King insists on the people for saying their prayers. The people say who wants prayers now, asks the King to give them food. One of the men says the Amirs have food. The first man says that they themselves starve and they (the King and Amirs) want them to pray. This passage narrates the condition of people and how they are suffering by the decisions made by King Muhammad to shift his capital from Delhi to Daulatabad.

There is only one discourse deictic element that has occurred in the above passage, that is, now .

4.3.9. i FIRST MAN: Prayer! Prayer! Who wants prayers now? (Girish Kamad, 1994: p.208) The crowds of citizens have gathered at a plain outside the fort Daulatabad. The Sultan Muhammad is serious about the prayers and he insists on his people saying their prayers five times a day. He has also announced that the Public Prayer which was mute for few years, to be started from Friday. And all the people have gathered for that. The people say the Sultan focuses on Prayer, but who wants prayers now. As

224 the people are starved they need food to survive. The prayers will not help the people to survive. This context has conveyed the sufferings of people and their starving due to the shifting of the capital from Delhi to Daulatabad. The word 'now' refers to the current situation in the ongoing discourse, as the people are starved and they need food to survive and not the prayers. Therefore, 'now' is used as a discourse deixis.

4.3.10 Girish Karnad: Tughlaq: Discourse Deixis: Ten

BARANI: By all the history I know, I swear he'll stab you in the back. This is sheer folly. He is a thief and a murderer and Your Majesty knows he won't keep trust. Once he has power in the Deccan, his ambition will know no barriers. He is bound to find unlimited scope for his villainy there. He is bound to find unlimited scope for his villainy there. He is bound to rebel against the Sultan. How can you not see that. Your Majesty?

Muhammad: I forgave Ain-ul-Mulk once, and you were on my side then.

BARANI: But how can one mention Ain-ul-Mulk in the same breath as this rascal?

MUHAMMAD: Last week I received a letter from Ain-ul-Mulk. He has invited me and my subjects to his capital to stay there until the famine here subsides.

BARANI: He is a great man, a great friend of yours—

(Girish Karnad, 1994: 218-219)

ANALYSIS: DISCOURSE DEIXIS

King Muhammad comes to know about the reality of Aziz that he is a dhobi from Shiknar. Aziz says to the King that he has been his most sincere servant and has followed every order and instruction given by the King. The King asks Aziz what punishment he (the King) should give for his crimes. Aziz tells him to promote him as an officer of King's state. The King says that it would be punishing himself (to the King). Aziz requests the King to give him a chance to show his loyalty. King Muhammad accepts that and tells him to go to the Deccan and Khusru Malik will look

225 after him as an officer in his army. Barani asks the King why he is appointing Aziz, as an officer. By all the history, he will stab the King in the back. King Muhammad says that he has forgiven Ain-ul-Mulk once and Barani was at the King's side then. The King thinks that Barani should support the King's decision. The King tells Barani that Ain-ul-Mulk has invited him to stay in his capital until the famine at Daulatabad subsides.

There are several occurrences of discourse deixis in the above passage such as: 'hut' and 'last week'.

4.3.10. i BARANI: But how can one mention Ain-ul-Mulk in the same breath as this rascal? (Girish Kamad, 1994: p.219) King Muhammad comes to know the reality about Aziz, as he is not Hindu Brahmin Vishnu Prasad, but he is a Muslim Dhobi named Aziz from Shiknar. The Sultan also comes to know about his crimes and asks Aziz what punishment should be given to him by the Sultan. Aziz says that the Sultan should appoint him a state officer. The Sultan says that it would be punishing himself Aziz tells the King that he had been the most honest and loyal servant of the Sultan. King Muhammad believes him and agrees to offer him a post. He says that Aziz should go to the Deccan and meet Khusru Malik there and he will look after him as an officer in his army. Barani does not like the decision taken by the King for Aziz. Barani asks why the King has done this, as the history of Aziz's shows that he is a thief and a murderer. He will stab the King in the back. Aziz is bound to rebel against the Sultan. The King says that at once the Sultan has forgiven Ain-ul-Mulk and then Barani was on the King's side. The King expects from Barani that he should support his (King's) decision about Aziz. Barani says how one can compare Ain-ul-Mulk with Aziz. Barani uses the conjunction 'but' to show his own different thinking from the King's thinking of comparing both Ain-ul-Mulk and Aziz as the same persons. As Aziz is a thief and a murderer, one cannot believe him. Here, the conjunction 'but' refers to Barani's thinking which is different from the King's comparison of Ain-ul-Mulk and Aziz. Therefore, 'but' is used as a discourse deixis.

226 4.3.10. ii MUHAMMAD: Last week I received a letter from Ain-ul-Mulk. He has invited me and my subjects to his capital to stay there until the famine here subsides. (Girish Kamad, 1994: p.219) The King tells Barani that he was at his side when the King forgave Ain-ul-Mulk. He means Barani should also support the King about the decision which he has taken in the case of Aziz. But Barani is not happy with this decision. He says that one cannot compare Ain-ul-Mulk with Aziz. At the same time the King remembers that last week he has received a letter from Ain-ul-Mulk. He has invited the King to his capital to stay there until the famine in King's empire subsides. The King uses the words 'last week' which refer to a period of seven days and the time point when he has received the letter from Ain-ul-Mulk. The act of receiving the letter has taken place few days before. The situation is mentioned in the earlier discourse and that situation is indicated by the words 'last week' in the ongoing discourse. Therefore, 'last week' is used as a discourse deixis.

4.4 ANALYSIS OF DISCOURSE DEIXIS IN NAGA-MANDALA

4.4.1 Girish Karnad: Naga-Mandala: Discourse Deixis: One

KAPPANNA: (Entering.) Mother—

KURUDAVVA: Ha! There he is! Wait!

(Goes to him.)

Have you brought them?

(Kappanna gives her the two pieces of root. Kurudavva hurries back to Rani.)

Are you still there?

RANI: Yes, I am.

227 KURUDAVVA: Here.

RANI: What is that?

KURUDDAVVA: The root I was telling you about.

(Rani starts.) Here. Take this smaller piece. That should do for a pretty jasmine like you. Take it! Grind it into a nice paste and feed it to your husband and watch the results. Once he smells you he won't go sniffing after that bitch. He will make you a wife instantly.

RANI: But I am his wife already.

KURUDAVVA: Just do as I say.

(Rani takes the piece. Kuruddavva tucks the other one in the knot of her sari. Kappanna whistles. She turns.)

That must be Appanna coming.

(Girish Kamad, 1990:p.l3)

ANALYSIS: DISCOURSE DEIXIS

This is a conversation between Rani and Kurudavva. Rani tells everything to Kurudavva as her (Rani's) husband locks her inside the house every day. He does not accept her as his wife. He comes home only at day times for lunch. Kurudavva tells Rani her own story about the pieces of root. She (Kurudavva) sends his son Kappanna to bring the pieces of root. She tells her (Rani) to take the smaller piece, and to grind it into a nice paste and to feed it to her husband so that he can accept her as his wife. She says but she is his wife already, Kurudavva tells her to do just as she has told Rani. Kappanna whistles from a distance. Kurudavva realizes that Appanna must be coming.

The occurrence of discourse deixis in the above passage is: 'but'.

4.4.l.i RANI: But I am his wife already. (Girish Kamad, 1990:p. 13)

228 Kurudavva comes to meet Appanna's bride Rani. She finds Rani inside the house and a lock on the front door. She asks Rani about her life and Appanna. Rani tells Kurudavva that everyday Appanna locks her inside the house and he comes only at day times for lunch. Rani weeps when she tells all this to Kurudavva. Kurudavva assures her that she will take care of everything. She tells Rani about her own experience about the piece of root and sends her son Kappanna to bring the pieces of root. Kappanna brings the pieces of root as he was directed by his mother. Kurudavva shows the pieces to Rani. Kurudavva suggests Rani to use the smaller one and to grind it into a nice paste and to feed it to her husband and watch the result. Once he smells Rani he will not go to that bitch. He will make Rani a wife instantly. Rani did not understand that and repeats that she is already his wife, that is, Appanna's wife. Rani uses the conjunction 'but' to show her own contradictory response to Kurudavva's talk. Kurudavva has different intention to state that Appanna will make her his wife. This means that he will willingly and gladly accept her and behave with her as a husband. He will begin keeping physical relations with her. Rani tells Kurudavva that she is already his wife. The conjunction 'but' is used to refer to contradictory action to the earlier discourse. Therefore, the conjunction 'but' is used as a discourse deixis.

4.4.2 Girish Karnad: Naga-Mandala: Discourse Deixis: Two

RANI: You—you—

NAGA: Don't get up.

RANI: But, when did you come? Shall I serve the food?

NAGA: (LaughsJFood^Ai midnight?

RANI: Then something else. Perhaps—

(Don't know what to say. Stands dazed, leaning against the wall.)

NAGA: Why don't you sit? Are you so afraid of me?

229 (She shakes her head.)

Then sit down.

RANI: No.

NAGA: I will go and sit there. Away from you. Will you at least sit then?

(Moves away, sits on the floor at a distance fi-om her.)

Now?

(Rani sits on the edge of the bed. Long silence. She is dozing but struggles to keep her eyes open.)

NAGA: You are very beautiful.

RANI: (Startled.)Hm? What? Do you—want something?

NAGA: No. I said you are very beautiful. Poor thing!

RANI: Poor thing—?

NAGA: That a tender bud like you should get such a rotten husband.

RANI: I didn't say anything!

NAGA: You didn't. I am saying it. Did it hurt.. .the beating this morning?

RANI: No.

NAGA: Locked up in the house all day.... You must be missing your parents.

RANI: (Struggles to hold back a sob.) No.

NAGA: They doted on you, didn't they?

(She suddenly bursts out into a fit of weeping.)

(Girish Kamad, 1990: pp. 19-20)

230 ANALYSIS: DISCOURSE DEIXIS

Appanna does not accept Rani as his wife and everyday locks her inside the house. Kurudavva comes to meet Appanna's new bride but finds that she is inside the house and a lock on the front door. Rani tells Kurudavva everything which she faces. Kurudavva gives Rani a piece of a root to feed to Appanna as he can accept her. She grinds that root, makes paste and pours the paste into the curry. The curry turns red. She says to herself that this curry looks like blood, poisonous red. It may harm her husband. She does not serve it to her husband but pours it into an ant-hill. As she turns back the Cobra from the ant-hill lifts his hood, comes out of the ant-hill. It sees Rani and follows her at a distance. The Cobra from that day takes the shape of Appanna and meets Rani at every night. The above passage deals with the conversation between Naga (who comes to meet Rani in the shape of Appanna) and Rani on the first night when Naga becomes Appanna for the first time.

Occurrences of discourse deixis in the above passage are: 'midnight', 'perhaps' and 'now'.

4.4.2.i NAGA: (Laughs.)Food'?At midnight? (GirishKamad, 1990:p.l9) The Cobra enters Appanna's house and takes the shape of Appanna. He caresses Rani (Appanna's wife). She wakes up greatly surprised as he (Appanna) used to come to home every day only at day time just for his lunch. On that day he came home in the evening. She is habituated to serve him food whenever he comes home. She (Rani) is in a sleepy mood. She becomes aware of his arrival she asks him when he has come and asks him whether food is to be served. Naga (who has come in the form of Appanna) laughs and repeats 'food at midnight'. Here, midnight refers to the discourse point when this utterance has been spoken. Generally, people have their food in the evening or late evening but not at midnight. Here, the word "midnight' refers to the ongoing discourse. It is, therefore, a discourse deixis.

231 4.4.2.ii RANI: Then something else. Perhaps— (Girish Kamad, 1990: p. 19) Rani is in a confused state of mind when the Naga (Appanna) comes home at night. She cannot talk freely with him. She is scared of him. He (Appanna) does not accept her as his wife. He comes home only at day time for lunch. On that day he came at night. So she has asked him whether food is to be served. He laughs so she asks him whether he wants something else. Naga is not familiar with Rani but he is trying to make her comfortable and relaxed so that she can talk to him. She utters the word 'perhaps' which refers to her thinking which is based on his- Appanna's demands and requirements in the earlier discourse. Appanna has nothing to do with her when he comes home only for bath and lunch. She thinks that he may require something else. Here, the word 'perhaps' refers to her thinking, which is based on the earlier conversation. Therefore, it is used as a discourse deixis.

4.4.2.iii NAGA: I will go and sit there. Away from you. Will you at least sit then? (Moves away, sits on the floor at a distance from her.) Now? (Rani sits on the edge of the bed. Long silence. She is dozing but struggles to keep her eyes open.) (Girish Kamad, 1990: p. 19) Rani is surprised with a sudden change in the behaviour of Appanna. She is in a sleepy mood but tries to keep her eyes open. Naga tries to make her comfortable so that she can talk to him. On the same day in the morning Appanna has slapped Rani. Rani behaves with him in her regular behavior. She stands leaning against the wall. He asks her to sit down. He asks her whether she is afraid of him. She replies in negative by shaking her head. He sits at a distance from her. He speaks the word 'now'. He asks whether she can sit at a distance. Here, 'now' marks Naga's progress of communication through the discourse. This pays attention to Rani's response. The word 'now' is used to refer to the current portion of the ongoing discourse. Therefore, it is used as a discourse deixis.

232 4.4.3 Girish Karnad: Naga-Mandala: Discourse Deixis: Three

NAGA: (Startled)What is it?

(Rani continues to howl.)

I know, you want to see your parents, don't you? All right.I'll arrange that.

(She looks at him dumbfounded.)

Truly. Now, smile. Just a bit. Look, I'll send you to them only if you smile now.

(Rani tries to smile. A new outburst of barking from the dog.)

Oh! Does this dog carry on like that all night? How long is it since you had a good night's sleep?

RANI: But—

NAGA: (Happy to see her react.)But. what?

RANI: Nothing.

NAGA: (In order to provoke her.) Listen to that racket! Have you had even one good night's sleep since coming here?

RANI: But—

NAGA: What are you 'but'ting about? But what?

RANI: But you brought the dog here only this morning! There was no problem all these days.

(Girish Karnad, 1990: p.20)

ANALYSIS: DISCOURSE DEIXIS

This passage relates a conversation between Naga and Rani. Rani is very much surprised with his behavior as Appanna comes in the afternoon, every day, for lunch only and when he leaves home, locks Rani inside the home. She is not aware about Naga who comes at nights only in the shape of Appanna. Appanna has never accepted

233 Rani as his wife, but on that night he praises her beauty, asks her several questions which confuse Rani greatly. He asks Rani about her parents and asks whether she wants to meet her parents. He also asks about the Dog whether it barks like that and disturbs her every night. Rani says Appanna has brought the Dog in the morning on the same day and there was no problem all these days. He covers up the situation.

The occurrences of discourse deixis in the above passage are: 'that\ 'now', 'but'dind 'this morning'.

4.4.3.i NAGA: (Startled) What is it? (Rani continues to howl.) I know, you want to see your parents, don't you? All right. I'll arrange that. Truly. Now, smile. Just a bit. Look, I'll send you to them only if you smilenow. (Girish Kamad, 1990: p.20)

Naga uses several ways to make Rani comfortable and he asks several questions to her. He says that she has got such a rotten husband. She says she has not said anything. He again asks her whether the beating in the morning hurt her. She replies in the negative. He keeps on asking questions and tells her that she must be missing her parents. When Rani listens to this she starts crying. He remarks that he knows that she wants to meet her parents. He assures her by that saying he will arrange that. That' refers to Rani's wish to meet her parents. Therefore, 'that' is used as a discourse deixis.

There is another discourse deixis in the same example 'now', as it is used to refer to the ongoing discourse. As Rani remembers her parents, she weeps. He says that he will arrange for her to meet her parents and says her to smile 'now". He uses the word 'now' to suggest that she should feel happy as he (Naga, for her Appanna) will arrange to send her to meet her parents. The word 'now' is used to mark Appanna's progression in the ongoing discourse. It is a discourse deixis.

234 4.4.3.ii RANI: But— RANI: But— NAGA: What are you 'but'ting about? But what? RANI: But you brought the dog here only this morning! There was no problem all these days. (Girish Kamad, 1990: p.20) Naga asks Rani several questions as he wants to make her comfortable and is waiting for her turn to talk. Naga says whether the Dog barks throughout the night and disturbs her sleep. She tries to interrupt him (to Naga who comes in the shape of Appanna as she knows that he himself-Appanna has brought the Dog in the morning on the same day. Naga keeps on talking and she wants to point out the same. Therefore, she repeatedly utters the word 'but'. He asks about the repetition as to why she is 'but'ing about (repeatedly using the word 'but'). The word 'but' used by Rani refers to Naga's (Appanna's) talk. The use of the word "but' is based on the situation which has occurred in the earlier discourse. Therefore, the word "but' is used as a discourse deixis.

4.4.3.iii RANI: But you brought the dog here only this morning! There was no problem all these days. (Girish Kamad, 1990: p.20) Rani tries to tell him that he (Apparma) brought the dog on the same day in the morning. As Naga (Appanna) asks her whether the dog barks throughout the night and disturbs her sleep. Naga came to Rani's house in the form Appanna and he (Naga) does not know about the dog whether it was brought on the same day. He (Naga) thought that the dog is there from several days and barks every night. Rani is not aware about Naga who comes to meet her in the form of Appanna. When he (Naga) asks about barking of the dog, she says it was brought in this morning only. The words 'this morning' refers to utterance itself, it also gives the information which is linked with the ongoing discourse, Naga comes to know the fact and covers up the situation. Here, the words 'this morning' is used as a discourse deixis.

235 4.4.4 Girish Karnad: Naga-Mandala: Discourse Deixis: Four

NAGA: What nonsense is this?

(Without opening her eyes, Rani bites her forefinger. Gives a cry of pain.)

What is going on, Rani?

RANI: (Rubbing her finger.) I must be going mad.

NAGA: Why?

RANI: (To herself) His visit last night—I assumed I must have dreamt that. 1 am certainly not dreaming now. Which means I am going mad. Spending the whole day by myself is rotting my brain.

NAGA: It is not a dream. I am not figment of your imagination either. 1 am here. I am sitting in front of you. Touch me. Come on! You won't? Well, then talk to me. No? All right. Then I had better go.

RANI: Don't please.

NAGA: What is the point of sitting silent like a stone image?

RANI: What do you—want me to say?

NAGA: Anything. Tell me about yourself About your parents. Whatever come into your head. If you want me to stay, tell me why. If you want me to go, say why.

RANI: (Pouting.) What can I say if you behave like this?

NAGA: Like What?

RANI: You talk so nicely night. But during the day I only have to open my mouth and you hiss like a.. .stupid snake.

(Naga laughs.)

It's all very well for you to laugh. I feel like crying.

(Girish Karnad, 1990: p.22)

236 ANALYSIS: DISCOURSE DEIXIS

The real Appanna comes home, the next day. Rani comes out running, she laughs and asks him when he went away from the house. She stops asking when she sees the expression of distance on his face. Appanna goes to the bathroom stares after him. She observes the same behavior of Appanna which she faces every day. She thought she dreamt Appanna's visit last night. On the same night Naga (Appanna) comes to meet her. Rani bites her ovm finger when she sees Naga. Naga asks for that nonsense act, she replies she is going mad. Naga says it is not a dream, he is in front her. He asks her to touch him. If she does not desire to touch him he says then at least talk to him. Rani says what she can say if he behaves like that, talks nicely at night and he hisses like a stupid snake during the day.

Occurrences of discourse deixis in the above passage are: 'this', 'that', and 'now'.

4.4.4A NAGA: What nonsense is this? (Girish Kamad, 1990: p.22) Naga takes the shape of Appanna and comes to meet Rani every night. On his first visit at night the transformed Appanna asks her several questions. Rani is very much surprised with his first visit at night. She knows that he comes home every day only during day times for his lunch. He makes her comfortable and relaxes Rani. She feels happy with this changed behaviour of his. After this Naga turns into his original self and goes away. On the next day real Appanna comes home. Rani talks to him with the same feelings but she notices the expression of detachment and strangeness on Apparma's face and thinks as if she has only dreamt the situation of the previous night. On the same night Naga comes to meet her (Rani), she is in a sleepy mood. Rani sees him and closes her eyes tight. Naga asks her about this act of her closing the eyes tight after looking at him. He uses the demonstrative 'this' to refer to the ongoing situation. He is not aware of the other Appanna with whom Rani tries to speak but he real Appanna does not talk to her. When he (Naga) comes home she thinks that it is a dream and so closes her eyes tight. The demonstrative 'this' is used to refer ongoing discourse, therefore, it is a discourse deixis.

237 4.4.4.ii RANI: (To herself.) His visit last night—I assumed 1 must have dreamtthat. I am certainly not dreaming now. Which means I am going mad. Spending the whole day by myself is rotting my brain. (Girish Kamad, 1990: p.22) In the above utterance Rani talks to herself as she was confused about Appanna" s behaviour at the day times and at the night times. He came to visit her the previous night and then he has behaved well with her. On the very next day the real Appanna comes home he does not talk to her. The same evening Naga comes to meet Rani so she thinks it is a dream. After sometime she comes to know that she is not dreaming. In this utterance the demonstrative 'that' refers to the preceding part of discourse. Naga comes to her in the form of Apparma. He has come to meet her and has talked candidly which she has never thought about his behaviour. The demonstrative 'that' helps to continue the discourse referring to the preceding part. Therefore, it is used as a discourse deixis.

The word 'now' is used by Rani to refer to her ovm discourse which is followed by her own prior talk. Rani realizes that it is not a dream but it is the reality. Rani talks about the current situation in the ongoing discourse with the help of the word 'now'. Therefore, it is a discourse deixis.

4.4.4.iii RANI: (Pouting.) What can I say if you behave like this? (Girish Kamad, 1990: p.22) The next evening Naga comes to meet Rani. She thinks that it is a dream but later on realizes that it is a reality. Naga again tries to make her comfortable. He wants Rani to talk so that she can show her involvement in the talk. He asks her what is the point in sitting like a stone image. He asks her to tell him about herself, about her parents. He asks her if she wants him to stay or to go. Rani utters what she can talk if he behaves like that. She uses demonstrative 'this' to refer to his behavior during the day and at night. She says that he talks nicely at night but during the day hisses like a stupid snake. The demonstrative 'this' is used by Rani to refer to the upcoming discourse (his behavior at day and night). Therefore, it is a discourse deixis.

238 4.4.5 Girish Karnad: Naga-Mandala: Discourse Deixis: Five

NAGA: Come. You slept like a child in my arms last night. You must be sleepy now.

RANI: (Moves into his arms, suddenly stops.) But, what is this?

(Touches his cheek.)

Blood on your cheeks! And your shoulders! That looks like tooth-marks. Did you run into a thorn bush or a barbed-wire fence on your way here?

NAGA: Don't worry about it?

RANI: Wait. Let me apply that ointment Mother gave me. Where is it? I took it out the other day when I cut my thumb slicing onions. Where did I put it? Oh, yes! The mirror-box!

(She rushes to the mirror-box and opens it. Before Naga can move away so Rani won't see his reflection, she looks at him in the mirror. Screams in fi'ight. He moves with lightening speed, pulls her awayfl-om the mirror and holds her in his arms. She is trembling.)

NAGA: What is it? What is it. Rani?

(He gently shuts the mirror-box and pushes it away. Rani turns and looks at where he had been sitting.)

RANI: When I looked in the mirror, I saw there—where you were sitting—instead of you, I saw a—

(Mimes a cobra hood with her fingers.)

—sitting there.

NAGA: What? A cobra?

RANI: (Silencing him.) Shh! Don't mention it. They say that if you mention it by name at night, it comes into the house.

(Girish Kamad, 1990: p.23)

239 ANALYSIS: DISCOURSE DEIXIS

Rani asks Appanna (Naga) why he teases her behaving differently at day time and at nights. Naga asks whether he should stop coming at nights, she tells him it is your house, and he can decide. But she says she is sick being alone. She says what she can say as he spins riddles like that (his behavior at day times and at nights.) He says that he is afraid how that is going to be. Like that and like this. He asks her not to ask him the reason. Rani says that she will not ask him. Naga tells her that last night she slept like a child in his arms. She must be sleepy now. She moves into her arms but suddenly stops and sees blood on his cheeks. She asks the reason. Naga tells her not to worry about that. She desires to apply ointment on his cheeks. She opens the mirror box where she had kept the ointment. She sees his (Naga's) reflection in the mirror and screams in fright. Naga moves with a rapid speed. He moves her away from the mirror and holds her in his arms, she trembles. Naga asks the reason, gently shuts the mirror box and pushes that away. Rani explains him everything. Naga manages the situation and covers it up.

Occurrences of discourse deixis in the above passage are: 'now', and '//'.

4.4.5.i NAGA: Come. You slept like a child in my arms last night. You must be sleepy now. (Girish Kamad, 1990: p.23) Rani is in a confiised state of mind as she is not aware about Naga. who comes in the shape of Appanna, at every night to meet Rani. Her husband Appanna comes home every day in the afternoon and behaves in the same way but Naga comes to meet her and behaves differently. He-Naga talks to her, touches her, praises her beauty. She asks him the reason why he behaves differently. He asks whether he should stop coming at day time or at night. She wonders as to why he teases her. She is sick of being alone. Naga tells her not to ask him about his behavior during the day and at night. Naga tries to divert her from that thinking. Naga tells her that she slept like a child in his arms last night. Naga remarks that she must be sleepy now. He uses the word 'now' to refer to the ongoing discourse and at the same time he wants to divert

240 her from her thinking. The word 'now' is used to indicate his turn to response to the situation in the ongoing discourse. Therefore, h is a discourse deixis.

4.4.5.ii NAGA: Don't worry about it? (Girish Kamad, 1990: p.23) Naga manages to convince Rani to sleep in his arms. She too moves into his arms. She suddenly stops after looking at blood on his cheeks and shoulders. She asks the reason whether he ran into a thorn bush or a barbed-wire fence. He does not want to disclose the truth to her as he wants to keep it secret. Actually, Naga fought with the dog which was there at the front yard of her house. In the fight the dog dies then the Naga comes to meet her. When she asks about the blood on the cheek he tells her not to worry about it. He makes her calm and relaxed as she must not give the importance to the wounds. The word 'it' refers to the things which have been mentioned in the earlier discourse and helps to continue the discourse. Here, the word 'it' is used as a discourse deixis.

4.4.6 Girish Karnad: Naga-Mandala: Discourse Deixis: Six

RANI: (Looking up) Since I looked into the mirror I seem to be incapable of thinking of anything else. Father says: 'If a bird so much as looks at a cobra—'

NAGA: There! Now you said 'cobra'. Now he is bound to come—

(He mimes a cobra's hood with his hand.)

RANI: Let it. I don't feel afraid anymore, with you beside me. Father says: 'The cobra simply hooks the bird's eyes with its own sight. The bird stares—and stares—unable to move its eyes. It doesn't feel any fear either. It stands fascinated, watching the changing colours in the eyes of the cobra. It just stares, its wings half-opened as though it was sculpted in the sunlight'.

NAGA: Then the snake strikes and swallows the bird.

(He kisses her. They freeze. The flames surround them and sing the song of the Flames. Rani gets up and goes and sits in a corner hiding her face behind her knees, her arms wrapped around her legs.)

241 NAGA: What is it now?

RANI: Go away! Don't talk to me.

NAGA: But why are you crying?

RANI: I said be quiet.

(Pause.)

1 didn't know you were such a bad man. I should have known the moment you started using honeyed words.

(Pause.)

Had I known, I would never have agreed to marry you. What will Father and Mother say if they come to know?

(Girish Kamad, 1990: pp. 24-25)

ANALYSIS: DISCOURSE DEIXIS

The passage presents a conversation between Naga and Rani. Rani says that she forgot to apply the ointment on his wounds. She tries to get up but Naga forces her down. She softly touches his wounds and tells him that his blood is so cold. She says since she looked into the mirror she seems to be incapable of thinking of anything else. She remembers her father's words about a bird and a cobra. Naga interrupts her, she says cobra and he is bound to come. She says she is not afraid because Naga is beside her. She continues telling her father's words about a bird and a cobra. Naga again interrupts and completes her words by saying, the cobra strikes and swallows the bird, suddenly Naga kisses her, they both freeze. Rani gets up and sits in a comer hiding her face behind her knees. Naga asks for the reason she says do not talk to her, she starts weeping. Naga again asks she says be quiet, and continues that she did not know that he is such a bad man. If she would have known, she would never have agreed to marry him. She says what her father and mother will say if they come to know about him (his behaviour at day times and at nights).

242 Discourse deixis in the above passage are occurred as: 'now', and 'but'.

4.4.6.i NAGA: There! Now you said 'cobra'. Now he is bound to come—

NAGA: What is it now? (Girish Kamad, 1990: p. 24) Naga talks nicely whenever he comes to meet Rani. On that night Naga came to meet her after fighting the dog. There was blood on his cheeks and shoulders. She sees that and tells him that she will apply ointment on the wounds. She opens the mirror box to take out ointment. She looks at Naga in the mirror. She sees the reflection of a Cobra there in the mirror and so she screams in fright. Naga manages the situation. Rani tells Naga that she seems to be incapable of thinking anything else since she has looked into the mirror. When Naga tries to utter the word Cobra she tells him not to mention it at night because it will then come. After sometime she herself utters the word 'cobra' Naga teases her that as she has uttered the word 'cobra' it is bound to come in the house. He uses the word 'now' to refer to the current portion of this discourse. It is a discourse deixis. As she (Rani) is a bit serious so he is trying to make her relaxed. Rani tells what her father used to say about the Cobra. When she goes on telling that Naga kisses Rani. Rani gets up and sits in a comer. Naga asks what it is now. He has used the word 'now' to refer to Rani's response in that position when he kisses her. The word 'now' shows her unexpected response in the ongoing discourse. Therefore, it is used as a discourse deixis.

4.4.6.ii NAGA: But why are you crying? (Girish Kamad, 1990: p. 24) Rani tells Naga what her father says about the Cobra, when she (Rani) keeps on telling, Naga suddenly kisses her. Rani gets up and sits in a corner hiding her face behind her knees. She starts crying. Naga asks her why she is crying. He uses the word 'but' to show her contradictory action. As she reports what her father used to say about the Cobra. Naga teases her and tries to make her happy. There was no such situation where she would cry. She goes on telling the same what her father used to say about the Cobra. Naga kisses her, she does not respond to it. But she sits in a comer and starts crying. He asks her the reason for her suddenly crying. He uses the

243 word 'but' considering the earlier discourse to show her (Rani's) contradictory action. Therefore, it is a discourse deixis.

4.4,7 Girish Karnad: Naga-Mandala: Discourse Deixis: Seven

NAGA: (Suddenly looks out.) It is almost dawn. I must go.

RANI: No! No!

NAGA: The birds. Listen!

RANI: Why don't those birds choke on their own songs? Who has given them the right to mess about with other creatures' nights?

NAGA: I'll be back again at night.

RANI: Only at night? Not for lunch?

NAGA: Of course. There's always that. (Pause.) Listen, Rani. 1 shall come home every day twice. At night and of course again at mid-day. At night, wait for me here in this room. When I come and go at night, don't go out of this room, don't look out of the window—whatever the reason. And don't ask me why.

RANI: No, I won't. The pig, the whale, the eagle—none of them asks why. So I won't either. But they ask for it again. So I can too, can't I?

(Runs to him and embraces him)

(Girish Karnad, 1990: pp.25-26)

ANALYSIS: DISCOURSE DEIXIS

Rani argues with Naga about his changes in the behaviour at the day times and at nights. Rani says what his mother and father will think if they come to know about Appanna's behaviour. Naga remarks that they will say, 'our daughter is nicely following our footsteps' and it hurts Rani. She tells him not to utter such things about

244 her parents. They are not like dogs. Naga explains that the animals like dogs, frogs, foxes, ants, crabs, rattlers, the King Cobra, the tiger and others, how they live their lives. Rani replies to this by saying, Snake and lizards may do what they like as they are animals but human beings should have some sense of shame. She makes this statement considering Appanna's behavior during day times and at nights. Naga tells her that it is almost dawn and therefore he must go. He tells Rani that he will be back again at night. She asks if he will back only at night, not for lunch. Naga manages the situation and tells her that it is always there. He shall come home every day twice. He tells her when he leaves the house she must not go out of that room. She must not even look outside the window. Naga tells her not to ask him why. Rani tells him that she will not ask as the pig, the whale, the eagle and others do not ask anything, none of them ask. Rani then embraces Naga.

Occurrence of discourse deixis in the above passage: 'that'.

4.4.7.1 NAGA: Of course. There's always that. (Pause.) Listen, Rani. I shall come home every day twice. At night and of course again at mid­ day. At night, wait for me here in this room. When I come and go at night, don't go out of this room, don't look out of the window— whatever the reason. And don't ask me why. (Girish Kamad, 1990: pp.25-26) Rani and Naga had arguments about the lives of animals and the lives of human beings. Rani talks considering Naga's behaviour and tells him that human beings should have some sense of shame. Naga looks out and comes to know it is almost dawn. He tells her that he must go. He states that he will be back again at night. She asks him only at night and not for lunch. Naga talks about himself as he comes only at night and real Appanna does not behave in a good marmer with Rani when he comes at day time. Rani is confused and cannot understand the reason behind all this. She is not aware of the fact that it is Naga who comes to meet her in the shape of Appanna. When Naga tells her that he will come at night she asks whether he will not come for lunch. She considers Naga and Appaima as same character and asks him -Naga- whether he will not come for lunch. He tells her that, there is always that. The demonstrative 'that' refers to the routine of Appanna which is earlier mentioned in the

245 discourse. The demonstrative 'that' refers to the backward reference. Therefore, it is a discourse deixis.

4.4.8 Girish Karnad: Naga-Mandala: Discourse Deixis: Eight

NAGA: Then listen to me carefully. When you face the Elders, tell them you will prove your innocence. Say you will undertake the snake ordeal.

RANI: Snake ordeal? What is that?

NAGA: There is an enormous ant-hill under the banyan tree. Almost like a mountain. A King Cobra lives in it. Say you will undertake the snake ordeal.

RANI: (Screams.) What?

NAGA: Yes. And pull out the King Cobra. And take your oath by that cobra.

RANI: I can't! I can't!

NAGA: There is no other way.

RANI: Yes, there is. Give me poison instead. Kill me right here. At least 1*11 be spared the humiliation. Won't the cobra bite me the moment I touch it? I'll die like your dog and your mongoose.

NAGA: No, it won't bite. Only you must tell the truth.

RANI: What truth?

NAGA: The truth. Tell the truth while you are holding the cobra.

RANI: What truth? Shall I say my husband forgets his nights by next moming? Shall I say my husband brought a dog and a mongoose to kill this cobra, and yet suddenly he seems to know all about what the cobra will do or not do?

NAGA: Say anything. But you must speak the truth.

RANI: And if I lie?

246 NAGA: It will bite you.

RANI: God!

(And then gently, almost menacingly.)

And suppose what I think is the truth turns out to be false?

NAGA: I'm afraid it will have to bite you. What you think is not of any consequence. It must be the truth.

(Anguished.)

I can't help it, Rani. That's how it has always been. That's how it will always be.

(Girish Kamad, 1990: pp. 34-35)

ANALYSIS: DISCOURSE DEIXIS

Real Appanna comes home one day and finds Rani with bloated tummy, curses her. He says that after marriage every day he has locked her inside still she has managed a lover to make herself pregnant. The real Appanna did not keep any kind of physical relations with her and she is pregnant. Appanna says that he will abort that bastard, and smash that into dust. He drags her into the street and picks up a huge stone to throw on her. The Cobra watches everything and moves forward. Rani screams after spotting Cobra there. Appanna throws the stone towards the Cobra. By that time Rani runs into the house and locks herself inside. Appanna asks her to open the door but she does not open it. Appanna goes to Village Elders for judgement. On the same night Naga (Appanna) comes to meet her. She asks why he is humiliating her like this. She asks why he has complained to the Village Elders about her. She asks him to withdraw the complaint. Naga says sorry and utters it cannot be done. Rani states that all this is a result of trusting him. She again asks him as to who else is there for her. Naga tells her the way how she can prove her innocence in front of the Village Elders by undertaking the snake ordeal and telling the truth. Rani says which truth, the truth that her husband forgets his nights by next morning. Naga says he is helpless and she

247 has to face Village Elders. Rani is not aware about Naga who comes to meet her in the shape of Appanna.

Occurrences of discourse deixis in the above passage are: 'that' and '//'.

4.4.8.1 RANI: Snake ordeal? What is that? (GirishKamad, 1990:p.34) Real Appanna comes to know about Rani's pregnancy. He abuses her, drags her into the street, and picks up a huge stone to through on her. The Cobra watches everything and moves forward. Rani screams, Appanna throws the stone towards the Cobra. By the time Rani goes inside the house and locks herself inside the house. Appanna goes to ask the Village Elders for the judgement. On the same night Naga comes to meet Rani. She argues with him and tells him to go and withdraw the complaint against her. Naga says it cannot be done. He tries to give her solution over that problem. He tells her to trust him. He advises her to tell the Village Elders that she will prove her innocence by undertaking the snake ordeal. She (Rani) asks him about that. Rani uses demonstrative 'that' to refer to the snake ordeal. She is surprised to hear about the 'snake ordeal' as it is something new for her so she repeats 'what is that' to ask for clarification. Therefore, the demonstrative 'that' is used as a discourse deixis.

4.4.8.ii NAGA: I'm afraid it will have to bite you. What you think is not of any consequence. It must be the truth. (Anguished.)

I can't help it, Rani. That's how it has always been. That's how it will always be.

(Girish Kamad, 1990: pp. 34-35)

Naga tells Rani how she can prove her irmocence by holding the Cobra in her hands. He tells her that she must tell the truth. She asks what if she lies; Naga says that it will bite her. Rani asks if what she thinks is the truth turns out to be false. Naga tells her that in that case the Cobra will have to bite her, what she says must be truth. He further tells her that he cannot help the situation. He uses 'it' to refer to the overall situation which is going to take place and that Rani will have to undergo the ordeal.

248 He states that telling the truth is the only option and that is how it has always been and that is how it will always be. Naga uses 'it' to refer to the ongoing situation. The use of 'it' covers both the past reference and the fiiture reference. Therefore, the word 'it" is used as a discourse deixis.

4.4.9 Girish Karnad: Naga-Mandala: Discourse Deixis: Nine

RANI: But I have not done anything wrong. I am not guilty of anything. What shall I plead guilty to?

ELDER II: (Angry) Listen to me. We have been patient until now because of your youth. We have given in to your whims. But you have tested us enough. Either confess or accept the ordeal,

ELDER III: Remember, child, you have a choice of ordeals even now.

RANI: (Looking at the ant-hill) Yes, I shall take my oath..holding the red-hot iron.

(A roar of disappointment from the crowds. But the Elders are delighted.)

APPANNA: This is ridiculous! You can't allow this harlot...

ELDER I: Heaven be praised. It's a load off our conscience.

ELDER II: We have been saved.

(Girish Karnad, 1990: p.37)

ANALYSIS: DISCOURSE DEIXIS

Rani agrees to take her oath by holding the Cobra, all Village Elders and crowd gather near the ant-hill to see her undergoing that ordeal. Rani goes near the ant-hill. The Cobra rears its head from the ant-hill. Rani is scared of the Cobra and runs back. She runs to Appanna and asks for his help. He only curses her. Rani states that she has not done anything wrong. One of the Village Elders says, she has a choice of ordeals even now. Rani then changes her decision and declares that shall take her oath by holding red-hot iron. Appanna again curses her. He protests to Village Elders that they should

249 not allow this harlot. One of the Elders orders to heat the iron rod quickly. In this entire confusing situation Kurudavva enters calling for her son. Rani then asks Kurudavva to help her.

Theoccurrencesof Discourse deixis in the above passage are: 'But', 'because', now'. and 'this'.

4.4.9.i RANI: But I have not done anything wrong. I am not guilty of anything. What shall I plead guilty to? (Girish Kamad, 1990: p.37) Rani agrees to take her oath by holding the Cobra, she steps up to the ant-hill; she goes closer to the ant-hill. The Cobra rears its head out of the ant-hill. Rani is scared of the Cobra and runs back. She runs to Appanna and asks him for his help. He only abuses her more. One of the Elders says to Appanna that she is a child yet and her fright is quite understandable. Another Village Elder tells Rani if she accepts her guilt there is no need to go through ordeal. She asserts that she has not done anything wrong. If she is not guilty why she should accept her guilt. She uses the word 'but' to refer to Elder's saying which contrasts with her (Rani's) perception. As she knows that she has not done anything wrong, she allows Appanna to sleep with her. She is not at all aware of the fact that it has been Naga who used to come to her in the shape of Appanna and used to sleep with her. Rani is truthful in whatever she is stating. 'Why should she accept the guilt?' she has not done anything wrong. Here, the word 'but' is used to show contrast with the Elder's saying. Therefore, it is used as a discourse deixis.

4.4.9.ii ELDER II: (Angry) Listen to me. We .have been patient until now because of your youth. We have given in to your whims. But you have tested us enough. Either confess or accept the ordeal. (Girish Kamad, 1990: p.37) Rani feels frightened when she sees the Cobra and runs to Appanna for his help. He abuses her. One of the Elders makes him calm by saying her fright is understandable. Another Elder says to her if she accepts her guilt then there is no need to take oath. She argues by saying as she has not done anything wrong, why should she accept the

250 guilt? Elder II gets angry and tells her that they have been patient because of her youth. She has now tested them enough. He tells her that she has only two choices either to confess or to go through the ordeal. Elder II uses the word 'because' in their (Rani and the Elders) interpersonal argument to respond to her saying. She is young so they have been patient to her. The word 'because' provides a cause for their act. It is a discourse deixis.

Another word 'but' is used as contradictory response to Rani's statements. As the Elders have sympathy for her but she has tested them enough. Here, the word, 'but" is used to show their opposition to Rani's view. 'But' is used as a discourse deixis.

4.4.9.iii ELDER III: Remember, child, you have a choice of ordeals even

now.

(Girish Kamad, 1990: p.37) Rani is frightened when she sees the Cobra as she has decided to take her oath by holding the Cobra. She runs to Appanna for help but he just abuses her. Elders tell her to accept the guilt. Then there will be no need to take oath by holding the Cobra. She argues, 'Why should she accept guilt as she has not done anything wrong?' She is frightened of the Cobra and therefore another Elder tells her that she has a choice of her ordeal. The Elder III uses the word 'now' to refer to the ongoing discourse, as to what she can do at the time when the utterance is spoken. Here, the word "now' is used as a discourse deixis.

4.4.9.iv APPANNA: This is ridiculous! You can't allow this harlot... (Girish Kamad, 1990: p.37) The Elder III gives her a choice for taking her ordeal so she changes her decision and agrees to take her oath by holding the red-hot iron. Appanna gets angry and utters furiously that giving her a chance is ridiculous. He uses the demonstrative 'this' to refer to the utterance itself The demonstrative 'this' refers to the situation and Rani's change in the decision to take the oath by holding red-hot iron. The demonstrative 'this' refers to the current situation and to the utterance itself Therefore, it is used as a discourse deixis.

251 4.4.10 Girish Karnad: Naga-Mandala: Discourse Deixis: Ten

RANI: No. I want the ordeal by the Cobra.

(Goes to the ant-hill, plunges her hand into it and pulls the Cobra out.)

ELDER III: Be quick, now.

RANI: Since coming to this village, I have held by this hand, only two....

APPANNA: (Triumphant.) There. She admits it. Two, she says.

Two! Who are they?

RANI: My husband and...

APPANNA: And—say it, who else?

RANI: And this Cobra.

(Suddenly words pour out.)

Yes, my husband and this King Cobra. Except for these two, I have not touched any one of male sex. Nor have I allowed any other male to touch me. If I lie. let the Cobra bite me.

(The Cobra slides up her shoulder and spreads its hood like an umbrella over her head. The crowd gasps. The Cobra sways its hood gently for a while, then becomes docile and moves over her shoulder like a garland. Music fiills the skies. The light changes into a soft, luminous glow. Rani stares uncomprehending as the Cobra slips back into ant-hill. There are hosannas and cheers from crowd.)

ELDER I: A miracle! A miracle!

(Girish Karnad, 1990: p.39)

252 ANALYSIS: DISCOURSE DEIXIS

Rani agrees to take her ordeal by holding the Cobra but when she sees the cobra she changes her decision and tells the Elders that she shall take her oath by holding red- hot iron. At the same time Kurudavva comes there asking her for son Kappanna. Rani requests Kurudavva to help her but she (Kurudavva) does not listen to anything, only asks for her son. Meanwhile, Rani changes her decision and tells Village Elders that she wants the ordeal by the Cobra. She plunges her hand into the ant-hill, pulls out the Cobra. She openly declares that since coming to that village she touched only two; her husband and the King Cobra that is now held by her hands. She says except these two she has not touched any one of the male sex. Let the Cobra bite her, if she lies. The King Cobra becomes docile and moves over her shoulder like a garland. Rani stares at everything. The Cobra goes back into the ant-hill. The Village Elders fall at her feet. One of the Elders says she is a goddess; that is how goddesses reveal themselves to the world. Appanna falls at her feet saying that he is a sinner; Rani takes him in her arms. Finally, Appanna accepts Rani as his wife.

Occurrences of discourse deixis in the above passage are: 'now', 'and', and 'it'.

4.4.10.1 ELDER IH: Be quick, now. (Girish Kamad, 1990: p.39) Initially. Rani was ready to take her oath by holding the Cobra but when she sees the Cobra, she gets frightened and changes her decision. She argues with the Elders, as she has not done anything wrong so she will not accept the guilt. One of the Village Elders tells her that she has a choice to take her oath so she says she can take her oath by holding the red-hot iron. At the same time Kurudavva comes there. Rani asks her for help. Kurudavva utters only her son's name; meanwhile Rani changes her decision and says she shall take her oath by holding the Cobra. She goes near the ant-hill and pulls the Cobra out. At the same time Elder III utters be quick, now. He (Elder III) thinks she must not change her decision again. Here, the word "now' marks Elder's progression through the time of discourse by displaying attention to the upcoming discourse. Therefore, 'now' is used as a discourse deixis.

253 4.4.10.ii RANI: My husband and... (GirishKamad, 1990:p.39) Rani pulls the Cobra out from the ant-hill and starts taking the oath. The village crowd, Village Elders and Apparma watch that surprisingly. She says that since she came to that village she has held by her hand only two. Appanna triumphantly says that she has admitted her guilt. She says two. He questions her about the two. She utters first that the one is her husband. Appanna questions her who is the other, the second one whom she has touched. She uses the conjunction 'and' to refer another thing and it helps her to continue her action in the ongoing discourse. Therefore, the conjunction 'and' is used as a discourse deixis.

4.4.10.iii APPANNA: (Triumphant.) There. She admits it. Two, she says. Two! Who are they? (GirishKamad, 1990: p.39) Appanna is curious to know about the person with whom she (Rani) slept and got her pregnancy. He gets completely involved in what she is going to disclose. He concentrates on her saying. She says since she came to that village she has touched only two, Appanna triumphantly utters that she admits her involvement in the sinful act. She says two, Appanna uses third pronoun 'it' to refer to her act. As he thought she says two means anyone else (a male figure) apart from him. She utters my husband and, he interrupts and questions her about the second one. The third person pronoun 'it' refers to the things which have occurred earlier in the discourse. Therefore, 'it' is used as a discourse deixis.

254 4.5 CONCLUSION

This study will definitely make students understand the importance of anaphoric and cataphoric references in the process of any ongoing communication. This study reveals many facts about discourse deictic expression. These expressions are important to refer to the past and future references in the ongoing process of communication. This chapter demonstrates the fact that discourse deictic indicators help to link and establish close human relationships that are central in the development of plays. This study proves that the analysis of the pragmatic principles, rooted in the contexts, helps in explicating the plays more fully and more meaningfully.

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