The play revolves around the 14th century historical figure of Muhammad Tughlaq. Karnad deals with history of that time in the play. The play is obviously a historical play with a fine blending of fact and fiction in its narrative. In the play Karnad followed the traditional sources of the life and times of Tughlaq.

Author:Arashigul Nizragore
Language:English (Spanish)
Published (Last):23 March 2008
PDF File Size:7.86 Mb
ePub File Size:7.88 Mb
Price:Free* [*Free Regsitration Required]

The play revolves around the 14th century historical figure of Muhammad Tughlaq. Karnad deals with history of that time in the play. The play is obviously a historical play with a fine blending of fact and fiction in its narrative. In the play Karnad followed the traditional sources of the life and times of Tughlaq.

He studied deeply the facts related to Muhammad Tughlaq before writing Tughlaq. He deviated from history when it becomes necessary for him from artistic and technical point of views. In Tughlaq, Karnad delineates the last five years of the reign of Tughlaq.

Karnad is one of the greatest dramatists of modern India. His play Tughlaq is his masterpiece. Introduction: A historical play seems to be a contradiction in terms. History requires truth to the events of the past, but art require imagination and concentration on needs of art. In other words that the writer of a historical play, must use the facts of history with discretion to suit the needs of his drama while maintaining overall truth to history.

He has to deviate from the facts of history, and even introduce new characters in the interest of dramatic effectiveness.

This is what Karnad has also done in the present play. Girish Karnad closely follows historical sources in this respect. It is based on the life and history Muhammad Tughlaq who ruled over quite a large part of India with Delhi as its capital in the beginning.

But historical facts alone are not enough to make a story a work of literature. Only historical facts alone are not enough to make a play interesting and history requires truth to the events of the past. Art requires imagination. In other words, a writer of a historical play enacts the structure of his drama on some facts of history but along with this he uses the fact according the need of his drama. Sometimes he deviates from the facts of history. He sketches him as an embodiment of idealism, scholarship and Hindu-Muslim unity.

In the first scene of the play Tughlaq is depicted as a generous Sultan. Now he returns his land and also gives him five hundred silver coins as compensation. The Brahman is offered a post in the civil services so that he may have a regular and adequate income.

In his opinion, the Sultan is being criticized by an infidel which is an insult to Islam. The young man defends the liberal attitude of the Sultan. He appreciates his devotion to Islam. The young man says to the old man that now he prays five times a day because it has been made obligatory by the Sultan.

If he misses his prayer, he will be punished. He tells Sheikh Imamuddin, that it is difficult for him to get himself free from Greek influence. He says, I still remember the days when I read the Greeks- Sukrat who took poison so that he could give the world the drink of gods. Karnad does not sketch Tughlaq as repentant for his evil deed of killing his father and brother. Historical records prove that Tughlaq was filled with remorse over the killing of his father. It is a turning point in his carrier and it causes inexpressible suffering to the common people.

Historic evidence also proves that Tughlaq took the drastic step to shift the capital for effective administrative control of south. The general Hindu public remained unaffected by this project. In order to prove that Sultan Tughlaq was a devil, Karnad greatly alters the historical facts of the rebellion of Ain-ul-Mulk.

In it he very much deviates from history. Karnad is inclined to prove that Sultan Muhmad Tughlaq was an evil genius.

He has, therefore greatly altered the historical facts of the revolt of Ain-ul-Mulk. Karnad makes Tughlaq weak. Tughlaq replaced them by copper coins. Karnad also went to other historical authorities on medieval India. It is interesting to note that Karnad is not a slove to historical accounts. He deviates from historical sources whenever he feels it necessary for artistic and dramatic purposes.

Karnad follows the conventional accounts in creating the atmosphere of mutual distrust, frustrated idealism, corruption, unrest and communal intolerance not only the circumstances but also the personalities of the major characters are in keeping with the historical account. Tughlaq is the central character in the play. Karnad closely follows historical sources in the presentation of these qualities. He portrays Tughlaq as a generous and charitable Sultan in the very first scene.

The Sultan is shown making a grant of silver dinars to the Brahmin and also giving him a post in the civil service. The Sultan also invites non-Muslim scholars for discussion. He used to have discussions with Muslims, Hindus and Jain scholars. This shows the liberal attitude of Sultan in case of religion.

He affects alteration of the facts to suit his artistic design. He refers to numerous problems faced by the Sultan both natural and manmade. It is just to highlight the idea that Tughlaq was losing his grip over the thing. The various problems like lawlessness, corruption, rebellions and draught etc. The dramatist aims to present a particular picture before the reader eyes to suit his dramatic design. Even the Sultan seems to be influenced by him. In history Najib is not a very important character.

Conclusion: Prof. Naik points out that Tughlaq is a historical play on the life of Sultan Muhammad-Bin-Tughlaq of the 14th century India. Karnad projects the curious contradictions in the complex personality of the Sultan who was at once a dreamer and a man of action, benevolent and cruel, devout the godless. So it is to be concluded that the play Tughlaq is a classic play as well as a famous historical play.

Delhi: Oxford University Press, Kulkarni, P. The Dramatic World of Girish Karnad. Creative Books Nanded, Kumar N.


Tughlaq A Play In Thirteen Scenes

Tughlaq was published in which did not just become a cult classic drama in Kannada but also went on to make its mark in English literature and was even translated to English by Karnad himself. The play even took several other linguistic forms Including Urdu. It is also said that no other play saw the amount of success that Tughlaq did. Several movies in different languages were also made and popular actors like Naseeruddin Shah, Om Puri are some who made their presence in it. In this play, one can witness varied characters of the different horizons being displayed on the stage.


Tughlaq (play)

There is a lot of controversy among the historians about the character of Tughlaq but Karnad has presented this man as a man of opposites. The central theme of the play is the complexity in the character of Sultan Tughlaq, who has both the elements good as well as evil. He is a visionary man as well as man of action. From the very first scene we come to know about the complex personality of Tughlaq, he can be considered as a learnt and an intelligent man. Tughlaq wanted his life as a garden of roses, where even thrones also give delight; his imagination expresses his sense about literature. Tughlaq written by Girish Karnad in , is his best loved play, about an idealist 14th-century Sultan of Delhi, Muhammad bin Tughluq, and allegory on the Nehruvian era which started with ambitious idealism and ended up in disillusionment. Karnad shows the evolution of Tughlaq from an idealist to a tyrant lusty for power and fame, something anyone, any Indian for that matter can relate to easily especially people who are familiar with the Nehruvian Era of Indian politics.

ISO 10816-6 PDF

Asha Kuthari Chaudhuri then of the Gauhati University at Guwahati, has said [10] of the play: "Tughlaq is based on the life and story of Mohammad-bin-Tughlaq -- the most controversial ruler of the Delhi sultanate. Tughlaq is defined as a historical play because the chief protagonist is a character taken from history and the play documents a series of past events that took place during the reign of Mohammad-bin-Tughlaq. Tughlaq can also be considered as a political play as it represents the reign of a king and his various moves to unify the Hindus and Muslims, and establish a just kingdom in Delhi. Jagadeswari, argues [11] : "Girish Karnad is the foremost playwright of modern India. Tughlaq, his second play, is a historical play replete with symbolism


He is often commemorated by historians as the Mad King, for going off the reservation with a series of failed uncanny governance ideas. Tughlaq play — Wikipedia Rather than aiming to set it all right, its better to take little steps at a time. Talk about the eternal relevance of good literatur The first thought that crossed my mind while reading this play was: I found the plot to be multi-layered and would love to read it again a few times. Tughlaq and his era r brought to life without bring apologist or judgemental. Re-read thghlaq after a long time, and loved it just as much.

Related Articles