Name :- Jay Koradiya

 Course :-BAFTNMP   Div :- A

Roll No :- 24 

Topic :- Girish Karnad's use of

myth and magical realism
 INTRODUCTION

• Girish Karnad (19 May 1938 – 10 June 2019) was an Indian actor, film
director, Kannada writer,playwright and a Rhodes Scholar, who
predominantly worked in South Indian cinema and Bollywood. His
rise as a playwright in the 1960s marked the coming of age of
modern Indian playwriting in Kannada, just as Badal Sarkar did in
Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi. He
was a recipient of the 1998 Jnanpith Award, the highest literary
honour conferred in India.
•
•
• Girish Karnad was born in Matheran, in present-day
Maharashtra, in 1938. His mother Krishnabai née Mankikar
was a young widow with a son who belonged to a poor family.
Since it was necessary for her to earn a living, she began
working as a nurse and cook (general housekeeper) for the
bedridden wife of a certain Dr. Raghunath Karnad, a doctor in
the Bombay Medical Services.
• Karnad's initial schooling was in Marathi. Later, after his father
was transferred to Sirsi in the Kannada-speaking regions of
Bombay Presidency, Karnad was exposed to travelling theatre
groups and natak mandalis (theatre troupes), which were
experience a period of efflorescence during the iconic
Balgandharva era .
 Awards and Honours :-
●
FOR LITERATURE ●
FOR CINEMA
Padma shri - 1974 1971. Best direction 

Padma bhushan - 1992 1971. Best feature film in kannada

Kalidas Samman - 1998 1978. Best screenplay

Sahitya academy award - 1994 1992. Best film on environment

conservation
PLAYS :-

Plays in Kannada Plays Translated in

English

"Maa Nishaadha" Tughlaq, 

"Yayati" Hayavadana,
"Tughlaq" (1964) Yayati,
"Hayavadana" (1971) Nagamandala:
"Anjumallige" (1977) Fire and the Rain,
"Tipu Sultan Kanda Kanasu" Bali : The Sacrifice,
"Flowers" Wedding Album
MYTH OF YAYATI :-
 Mythical Elements in the YAYATI
• Our word “Myth” derives from the ancient Greek word “Muthos” which
originally meant „utterance‟ and came to mean a spoken or written story.
In general a myth is a story which is not “true” and which involves (as a
rule) supernatural beings. Myth is always concerned with creation. For
example: Yayati borrowed a myth and create a new idea. Myth is not
simply wild tales about the gods or false stories that no modern person
would believe. Myth has always involved ways of telling stories that had
special significance. Myth change history into significant history. They tell
how things were in the beginning and thus how they must be now. Myths
can be so old that their origins are lost in prehistory, but they can also grow
up within our own history. For 19th Century men, Myth was anything that
was opposed to “reality”. Thus, the creation of Adam and the notion of
invisible man were “Myths”. It also meant “Fable”, Talk” or simply “Speech”.
Myths are one of the segments which serve to determine the indianness in
our literature.
REVIEWS ON YAYATI
• Jaydeepsinh Dodiya talks about karnad that he has given this
traditional tale a new meaning and significance highly relevant in
the context of life today. The Symbolic theme of Yayati‟s attachment
to life and its pleasures and also his final renunciation are retained.
In the Mahabharat, Yayati recognizes the nature of desire itself and
realises the fulfilment does not diminish or end the sexual desires.
CONCLUSION
• To conclude that in „Yayati‟ Girish Karnad inspires us to rethink about
the myths, mythologies and symbols he has profoundly used in his
plays, with the reflections of contemporary socitey and elements
infused in them. Karnad uses this mythical tale from Mahabharata
and puts it in modern contextsbecause the 20th century generation
does not easily relate to the Mahabharat Stories. But He with his
innovative changes turns this tale into one which is highly
relevant today.
MYTH OF HAYAVADANA :-

•
•
 Mythical Elements in the Hayavadana
• Hayavadana – Reshaping a Myth
•
• In Hayavadana, Karnad re-shapes an ancient Indian myth from the
veralapanchavimsati to point to man’s eternal quest for
completeness, or self-realization. With its highly stylized action and
mimicry, especially the scene at the temple of Kali and the sword
fight between Devadatta and Kapila in the second act, Karnad
invests the play with a significance, which brings out the emptiness
of the “incomplete” human being.
Padmini - An Archetypal Figure
• In this play, the central figure is a woman, Padmini. Selfishness and
sensuality find expression in her insatiable desire for both brain and
brawn, which are symbolized by Devadatta and Kapila respectively.
Married to Devadatta, Padmini craves for the „muscle‟ and „body‟ of
Kapila. In the myth, and in the play as well, the craving is not explicit, it
runs as an undercurrent in Padmini’s sub-conscious. She desires deeply
for both the body and the intellect, though sub-consciously. It is difficult
to prophesy whether or not she would have behaved differently had
there been a proper equation of physical strength and intellectualism in
either Devadatta or Kapila. The happenings in the Kali temple, where
she transposes the heads of Devadatta and Kapila, reveal her sub-
conscious desire. Padmini‟s act, though unintentional, is indicative of
the „incomplete’ human beings‟ silent cry for „wholeness.”
MYTH OF NAGA-MANDALA :-
 MYTH OF NAGA
• The myth of Naga is very popular in Indian society. It is believed that Naga can assume any
shape of his/her desire. Not only Indian scriptures but also Greek and many more affirms the
concept of Naga. The Ramayana, The Mahabharta and other literatures are full of the story of
Naga. Since Naga is considered as a Devine creature who fulfills the desires of men. Secondly
in Indian siciety, Naga is regarded as a keeper of fertility and for this reason, houses, temple-
walls and village shrines are adorned with the images of Nagas. A woman who wishes to bear
a child worships him. In Naga-Mandala, Naga consuming the paste of magical root, takes the
shape of Appanna and enters into Rani's house. Since Appanna comes to Rani only for lunch
at mid-day and goes to his concubene with whom he spends whole day. Naga comes to her at
night and talks to her sweetly while Appanna never speaks with her well. Rani is confused by
seeing the two unconnected and strange behaviour of her husband. During the day, she finds
her husband as a rude, arrogant and insane but at night, a congenial, loving and affectionate.
Rani say," You talk so nicely at night. But during the day I only have to open my mouth and
you hiss like a......stupid snake.In the absence of Appanna, Naga gives her emotional support,
love and as a result, she becomes pregnant. Rani enjoys his company happily and now she is
very glad. She says," I was a stupid, ignorant girl when you brought me here. But now I am a
woman, a wife, and I am going to be a mother."
 MYTH OF ROOT
• But Rani's happiness shatters when Appanna hears of her pregnancy.
He drags her to village court where she has to face an ordeal. Here
Naga as a savior, defends her sacredness and proves her as a Devine
Being in public. Villagers who have gathered to test her now
consider her a deity. They all fall at her feet. One Elder orders
Appanna," Spend the rest of your life in her service. You need merit
in ten past lives to be chosen for such holy duty. Another Elder"
Bless us, Mother. Bless our Children."In this way, Naga made Rani's
life happier and more meaningful. She got everything she wished
for, a devoted husband, a child, happy life and a lifelong servant.
The Myth of Ordeal
• The myth of ordeal has a mythical significance. It reminds us the ordeal of Sita in the
Ramayana. Indian mythologies are replete with the stories of Ordeal of many
characters who have undergone it. In NagaMandala, Rani has to undergo an ordeal
in order to prove her chastity. Since she has not committed adultery. She has spent
time with Naga as a wife. Naga comes to her every night int the guise of her
husband Appanna. Rani, assuming Naga as Appanna enjoys his companion and
becomes mother. Naga here comes to protect her. He advices her to opt for snake
ordeal and suggests her to speak the truth otherwise he will not help her. Elders of
village court order her to hold hot iron rod in her hands but she willingly as per the
suggestion holds snake from the ant-hill and says," since coming to this village, I
have held by this hand, only two..... My husband and,........this Cobra, yes, my
husband and this Cobra. Except for these two, I have not touched any of the male
sex. Nor have I allowed any other male to touch me, if I lie, let the Cobra bite me.
Naga slides up her shoulder and spreads its hood like an umbrella over her head. All
villagers fall at her feet and prostrate before her. Obviously and ridiculously the
ordeal proves her as a Goddess in them.
Myth of the Name of Snake
• The Myth of the Name of Snake In Naga-Mandala, Girish Karnad
mentions the prevalent belief of Indian society where the name of
snakes is not pronounced at night. It is believed that if it is called by
its name, it would appear in the house. It is called by its symbolic
names as rope, insect and animal. Naga: What ? A Cobra. Rani:
(Silencing him) Shh! Don't mention it.They say that if you mention it
by name at night, it comes into the house...... Naga: All right.
Suppose. A Cobra comes into this house. Rani: Dont't! Why are you
tempting fate by calling that unmentionable thing by its
name.....May God bless our house and spare us that calamity.
A fantastic artist touching hearts of millions.to
be remembered for his contribution