THE THEATRICAL Benefit Of GIRISH KARNAD`S

PLAY TUGHLAQ
THE THEATRICAL Benefit Of GIRISH KARNADS PLAY TUGHLAQ BY DR. RAM SHARMA
Girish Karnad was created in Matheran, near Bombay, in 1938. He is among the foremost
contemporary playwrights in India writing in Kannada. Tughlaq a historic play, was initially
designed in Kannada in 1964. Girish Karnad was convinced to translate it into British y Alyque
Padamsee. Tughlaq was an immediate success around the stage. It was initially created in
Kannada in 1965 and seemed to be done, comparable time, in Hindi through the National
School of Drama, Bengali and Marathi productions adopted, as well as in 1970 there is an
British manufacture of it in Bombay. Girish Karnad themself creates, My subject was the
existence of Muhammad Tughlaq, a fourteenth century Sultan of Delhi, the most brilliant
individual ever to ascend the throne of Delhi as well as among the greatest failure. Following
a reign distinguished for guidelines that today appear far-sighted to the stage of genius, but
which when they were young gained him the title Muhammad the Mad. the Sultan ended
his career in bloodstream shed and political chaos. In this way, the play reflected the slow
disillusionment my generation felt using the new politics of independent India, the gradual
erosion from the ethical norms which had led the movement for independence and also the
visiting terms with cynicism and real politik.1 Tughlaq is really a go back to Indian history
towards the historic figure of Muhammad Bin Tughlaq, probably the most infamous Mughal
emperor. Once again Karnad confesses he should have been drawn to the worry of failure in
Tughlaq And I believe essentially like a person battling against failure and failing more,
somewhat should have found an instantaneous echo within me.A (Paul 1971 :3). However, the
play continues to be perceived as being contemporary, specifically in its political analogues
towards the Nehru duration of disillusionment. Karnad has themself claimed towards the
political contemporaneity of Tughlaq in the interview with Rajinder Paul (ibidem) Karnad
themself has said (Enact, June 1971) about this problem. What struck me absolutely about
Tughlaqs history was its modern. The very fact here was probably the most idealistic,
probably the most intelligent king ever in the future around the throne of Delhi.and among
the finest failures too. And inside a length of two decades this greatly capable guy choose to
go to pieces. This appeared in my experience both because of his idealism in addition to weak
points within him, for example his eagerness, his cruelty, his feeling he had the only real
correct answer. and that i felt in early sixties India had are available far within the same
direction the twenty year period appeared in my experience greatly an uplifting parallel. 2
P. Bayapa Reddy, highlighting the specialized technique utilized by Girish Karnad in Tughlaq to
uphold the theatrical benefit of the play for that visitors remarks the following : The
playwright is definitely the following sequences to throw light upon the complex personality
from the Sultan. The affair of Aziz and Azam, Tughlaqs make an effort to levy heavy taxes
around the poor maqui berry farmers, his orders to alter the main city from Delhi to
Daulatabad, the futile conspiracy from the disgrantled Amirs to get rid of the sultan while at
prayer, his cruel punishment of his step-mother because she was accountable for the killing of
Vizier Nazib Azizz impersonation from the invitee caliph Ghiyas and it is effects and lastly nov
Sultan. Because these episodes follow one another around the stage they create us focus our
attention on Tughlaq like a complex character. Furthermore, the sudden shifting from the
moments helps make the spectator move backward and forward. The crowd is continually and
clearly reminded that its inside a theatre as the play is created as accessible as you possibly
can.A 3 Theatrical benefit of the play apart, believe it or not ruling inside it would be the
aspects of irony, meaning and disguise. The figures of Aziz and Azam continues to be

presented as symbols. They are a symbol of opportunistic and unprincipled individuals who
take undue benefit of the liberal ideals and welfare schemes from the democratic government
and fill their very own pockets. Karnad has presented chess as symbol. In th listen to it
symbolises the whole kingdom is really as complicated and filled with problems as the overall
game of chess. Karnad has presented Python as symbol. The python is symbolic of elevated
brutality and bloodstream thirstiness from the Sultan. It symbolises the entire degeneration of
his personality. In certain books prayer has additionally been told like a symbol. However the
authors dont allow it to be explicit of the items symbol its. Exactly what does it symbolise ?
The way prayer is used being an instrument of murder from the same guy that has made
hopes mandatory within the condition and also the role performed by Aziz (a muslim dhobi
switched a Hindu brahmin and subsequently impersonating because the great grand boy from
the `the khalif after treacherously killing caliph Ghiyasuddin for any different group of
reasons and consideration). Nazib a self announced become Islam from Hinduism for
particular reasons of their own. Ghiyasuddins preference for that bloody roads towards the
structure. Tughlaqs asking Barani to not cover the dead body of Shihab while he wants his
individuals to watch the wounds on Shihabs dead body, the existence of the witty Aziz pittied
from the gentler Aazam all stick out as striking good examples of situational irony. Laying
alongside the situational irony would be the good examples of verbal irony symbolized
through Barani (the historian) whos thinking about playing chess using the shadows from
the dead. The hopes provided by Tughlaq are ridden with disease and the sins have grown to
be Shadows that entwine round his ft. Within the words of B.P. Bayapa Reddy, At the micro
level, prayer represents the macro level, it connects mans unconscious requirement for
divine protection and guidance within an hour of anguish. At first prayer is created
compulsory but later its banned for any couple of many again its elevated. Its reduced to
some mockery once the Sultans existence is threatened during the time of prayer. `Sleep on
a single level signifies the requirement for relaxation in mans existence. In the macro level it
might be synonymous with peace which eludes guy frequently. The rose is symbolic of the
aesthetic and poetic susceptibilities of Tughlaq. It afterwards becomes symbolic of the
withering away of all of the dreams and beliefs in Tughlaq. In the macro level, the overall
game of chess is definitely an regular game, that is popular in India. Additionally, it represents
a political game where the most intelligent and clever politician is check mated by an regular
washerman. Through this symbolist technique, the playwright has been successful in allowing
the right political atmosphere. 4 Tughlaq is really a historic play, yet Karnads management of
the theme causes it to be encompass and project a vaster canvas. That prayer which Tughlaq
holds so dear to his heart stands fouled by him in addition to by his enemies is symbolic to
the fact that his existence is tainted at its very source. The entire episode is marked by irony.
Shihab-ud-din, an idealist, that has reposed belief in Tughlaqs rule along the way, falls a
victim towards the crafty machinations of Ratan singh who engineers the entire plot of murder
for their own narrow, selfish gains. As the component of irony regularly improves the
theatrical benefit of the play. It adds to some dramatized symbol of Tughlaqs own tortured
divided self. Both Tughlaq and the enemies initially carry the illusion to be idealists. Yet in the
quest for the perfect they strike its `opposites giving the occassional impression the `way to
hell is paved with better of intentions. This complete play is stylobated on these `opposites
the perfect and also the real. Tughlaq is exactly what hes his self cognition and deep desire to
have divine whim not enduring. Ultimately, Mohammad Tughlaq and the kingdom become
inextricably recognized with one another vis-a-vis the chaos that grips them evenly. Tughlaq is
really a political allegory that sticks out, amongst other things because of its candid projection

from the versatile yet schizophrenic personality of Tughlaq. Ultimately we are able to state
that theres theatrical appeal in Girish Karnads play `Tughlaq.

Discuss themes and issues in Girish Karnad's Tughlaq.

One of the critical issues that Karnad addresses in Tulghlaq is the striking gap between
political aspirations and its reality. Karnad understands this about the historical conditions
that surround...
When I read about Mohammed bin Tughlaq, I was fascinated. How marvelous this was, I
thought. Tughlaq was a brilliant individual yet is regarded as one of the biggest failures. He
tried to introduce policies that seemed today to be farsighted to the point of genius, but
which earned him the nick name "Mohammed the mad" then. He ended his career in
bloodshed and chaos.
This is seen in different aspects throughout his Tughlaq's characterization. Karnad renders a
vision where the reality and aspirations collide. How this plays out in the mind of the
political ruler becomes one of the central issues of the drama.
As the drama opens, Tughlaq implores his subjects to observe a social setting in "without any
consideration of might or weakness, religion or creed." The idealism with which Karnad
depicts Tughlaq is in stark contrast to both the historical judgment of him rendered and the
political reality within which Tughlaq must work. Such a depiction shows how difficult
political authority is. It is one that compels authentically transformative leaders to risk much
in order to challenge an existing system that goes against their vision. Karnad's depiction of
Tughlaq as one who sought to put aside religious differences in the hopes of embracing
secularism is a powerful issue in the drama. The ability to strive to put forth a vision of what
can be amidst a setting that is hopelessly immersed in a reality of what is. Tulghlaq states
early on that he wishes to see unity between Hindus and Muslims as a significant part of his
vision: "Daulatabad is a city of Hindus and as the capital, it will symbolize the bond
between Muslims and Hindus which I wish to develop and strengthen in my kingdom."
Aspiration collides with reality as Tulghlaq fails in his vision. It is because of such a
condition that Karnad suggests Tulghlaq is seen as a failure.
This dynamic is significant when set against the condition in which Karnad writes the drama.
In 1964, India had been less than two decades removed from Partition and Independence.
The result was a nation where direction and transformative vision was hard to establish. A
nation born from Gandhian principles was still hopelessly locked in sectarian violence and
communal hatred, the very elements that Karnad's Tulghlawq desires to overcome in the
drama. The theme of political aspiration being limited by temporal reality is a significant one
in both the drama and the historical condition in which it is written. Tulghaq's initial
judgment rendered upon a Brahmin that he "should receive a grant of five hundred silver
dinars from the state treasury and in addition to thata post in the civil service to ensure
him a regular and adequate income" is a reflection of how a transformative political vision
might not necessarily be received well by the public. This theme of political transformation

stumped in the face of temporal reality is a significant part of the drama. It is reflective of the
India that Karnad sees in front of him, a stunning realization between the gulf between what
is and what can be. The chaos and fragmentation that results out of a vision steeped in genius
and transformation becomes a part of both the ruler's narrative and the nation's history.

Tughlaq: A historical play

Tughlaq, which has been written by Girish Karnad, is a 13-scene play about the
turbulent rule of Mohammad Bin Tughlaq. Though it is a historical play, it is also a
commentary on contemporary politics.
In the play, the protagonist, Tughlaq, is portrayed as having great ideas and a
grand vision, but his reign was an abject failure. He started his rule with great
ideals of a unified India, but his degenerated into anarchy and his kingdom.
The play starts with Tughlaq being portrayed as a strict yet respected ruler
who has ascended the throne through dubious means. It dramatically
highlights the importance of credibility and authenticity for a leader. Two
characters, Aziz and Azam, represent a section of people who are clever
enough to identify and misuse the loopholes in every law so that they can
profit.
The two-hour Kannada play has been co-directed by Dr Sripad Bhat, and will
be staged at Ranga Shankara on March 14 and 15.
TUGHLAQ Kannada Play by Girish Karnad Presented by Samudaya
SYNOPSIS OF THE PLAY

Tughlaq by Girish Karnad, a thirteen-scene play about the turbulent rule of Mohammad
Bin Tughlaq. This seems on the outlook as a historical play, but is appropriate to the
contemporary politics of any era, especially in the current global scenario.
The play Tughlaq explores the series of events that led to the downfall of one of the most
fascinating kings to occupy the throne in Delhi, namely, Mohammed-bin-Tughlaq. The
protagonist, Mohammad bin tughlaq, known for his reformist, ahead of his times ideas had a
grand vision, but his reign was an abjectfailure. He started his rule with great ideals of a
unified India. Yet in 20 years his reign had degenerated into an anarchy and his kingdom had
become a kitchen of death.
The vision of Tughlaq to unify India and keep religion out of politics cost him dearly. He put
forth reformist ideas to bring about trust in his Hindu citizens like scrapping the jijia tax on
Hindus. One of his ideas was shifting the capital from Delhi to Daulatabad in order to have
the capital that is not only the centre of his province but also a Hindu dominated area.
The play covers the consequences that followed this decision.The play starts with Tughlaq
being portrayed as a strict yet respected ruler. The play dramatically highlights the how the
business class of the country always tried to influence the decisions of the Ruler. The play
also highligts how religion can be misused to bring in the common man
into a foul play.
The two characters, Aziz and Azam, represent a section of people who are clever enough to
identify and mis-use the loop holes and in every law to enrich themselves.

The play outlines his clever plots to eliminate his opponents and ends with scenes of utter
chaos and misery in the kingdom, and Tughlaq being left alone, having been abandoned by
those who survived him. The play intends at capturing the helplessness of a great ruler, his
downfall no matter how big thedreams and the visions in the hands of the religion and
business class.