Girish Karnad’s play Hayavadana: Analysis of the humanism and the idea of completeness
Pavan Kumar Pandey
The present paper deals the Girish Karnad’s Play Hayavadana: analysis of the Humanism and the idea of completeness. Girish Karnad is regarded as one of the luminiferous stars in the universe of Indian theatre. His plays are renowned for its innovative tone and aesthetic appeal. Hayavadana, his third play, spins around the theme of identity and quest for perfection. Two plots appear intertwined in Hayavdana- one is the triangle relationship of Padmini, Kapila and Devadatta and the other is a sub plot which deals with the story of Hayavadana. The story of Padmini’s inexhaustible desire for a perfect husband aptly fits into a play which deals with the theme of human completeness. 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. 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.