Vol. 2, Issue 3 (2017)
The focus of the present paper is that Girish Karnad has dramatized the idea of completeness in the play, Hayavadana. Humanism is one of the branches of philosophy, which deliberate on such issues. In the introduction and the first, emphasis remains on the relation between drama and philosophy. The relation between the philosophy of humanism and drama is commented upon. Hayavadana appears to be foregrounding concerns of completeness and appeasement under Spencer’s and Neitzsche’s ideals of ‘superhero’ or ‘superman’. In the human world of Devadatta and Kapila, transposition offers a symbolic but temporary resolution to the problem of mind/body dualism: for a brief period of time, Devadatta-Kapila possesses the ideal mind as well as the ideal body, while the other hybrid being, Kapila-Devadatta, is deficient in both respects. But when each man’s body reverts to its original qualities, the problem of dualism returns, and the human condition appears as essentially one of disunity and imperfection culminating in death” (C P Vol II xxvi-vii). The three characters are complete in every sense and send a message to everyone that God looks upon those who are only patient, righteous and innocent of sins. Padmini is the only character in the play who is left out without a proper validation. Padmini is the only character who is left incomplete in the play. Devadatta and Kapila forgive each other before death and die without even concerned about Padmini. The fruits of righteousness, patience and innocence are reaped by three characters.
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