RECONSTRUCTING DALIT CONSCIOUSNESS: AN ANALYSIS OF KANYADAAN

Abstract

“The end of law is, not to abolish or restrain, but to preserve and enlarge freedom.” by John Lock

The experience of marginalization and oppression makes an individual deeply mute, socially disabled and mentally down-trodden- the age old flaw of hierarchical society; and this social malaise of marginalization and caste discrimination happened to be examined by Tendulkar’s humanistic perspective- the vital, reformative and widely humane to expand the frontiers of thoughts across the society and the nation. Hence, “Tendulkar can be called a complete playwright in the tradition of Shakespeare. There is a total experience of life and he holds up a heightened reflection of society.” (SUNDAY HERALD 2003) Tendulkar, endowed with dramatic genius and vigilance of a cultural squad, probes deeply into the layers of the caste psychology in presenting before us the conflicting and traumatic relationship between Indian middle class and socially outcaste and marginalized communities. The postcolonial subject in India and elsewhere is oscillating between two kinds of rationality: one represented by traditional culture and thought, and the other by the modern Western discourses. It is Tendulkar who, on the stage, acknowledges that “The caste spirit has become dangerous in modern India, the various caste groups are not complementary to one another nor do they contribute to the integration of the community”. (Ravindarnathan 143) This conflict between two cultures, traditions, and civilizations becomes apparent in the works of Mahesh Elkunchwar, Girish Karnad and Mahesh Dattani and many others. To prevent society and humanity from shrinking and degeneration Tendulkar pleads for caste eradication and abolishment of caste subjugation. The playwright’s commitment of human values buttresses the philosophy of his theatre.