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Being a versatile genius, his style and theme varies.In Yayati , we find a story from the Mahabharata fused with Western form.
The Bhagavada performs the role of the author,;he is very unlike the typical Bhagavada in Indian drama who appears only at the beginning and end of the play and is very passive throughout.
Like the Greek chorus, he initiates, concludes and comments upon the play. The drama only functions as a kind of metadrama in that certain metafictional elements are observed.
If style maketh the man, it follows from the proverbial dictum that from one’s style the person behind it can be deciphered.
However with the case of Girish Karnad, though we comprehend a style, it is a style that cannot be compartmentalized.
The mask therefore points in enlarged detail to its moral nature.
And this is why in Hayavadana , the characters have no real names.
” The story primarily fascinated Karnad for the scope it gave to masks and theatre.
Western theatre generally distinguished between the face and the mask.
The heroine is called Padmini after one of the six categories into which Vatsyayana classified all women.
Her husband is Devadutta (meaning a formal mode of addressing a stranger) and Kapila is simply the ‘dark one’.