Girish Karnad, a Kannad playwright is considered a founder of a new technique of drawing historical and mythological sources to deal with contemporary themes. Karnad by employing the non-naturalistic techniques of the traditional Indian theatre, achieves distinctive effect since his plays do not remain mere dramatization of folk-tales, but the plays with multi-leveled deeper meanings. In Naga-Mandala he derives the essence from the folk-tales utilizing the techniques of the traditional Indian theatre and marks the departure from the emotional world of traditional values and from the male-dominated world. He skillfully utilizes traditional facets of folk-tales such as the supernatural involvement, the magic, the play within a play, the other worldliness and generates the world of feminine strength to manage balanced societal frame. Karnad very skillfully represents the concept of chastity in Naga-Mandala. The distortion of the concept of chastity is viewed in a somewhat tricky manner. Hence, in this feminist play, Karnad’s chief concern is to liberate the oppressed, harshly beaten, locked in the houses (which is not home), Rani into an independent woman, not at the mercy of the husband enslaved by a harlot or a concubine. He achieves this purpose by introducing Naga, the lover. Consequently, the concubine turned into her maid-servant also becomes jealous of Rani and even the elders fall at her feet and calls her the Goddess. Thus, Karnad emancipates Rani, the woman.