Indira Parthasarathy, Re-creation in Girish Karnad's Plays

£ßÚõmkU P¸zuµ[P® : Œ©Põ»z uªÇõ#Ĩ @£õUSPÒ öu. v. C¢xUPÀ¿›, |õPº÷PõÂÀ 1£UP® Indira Parthasarathy, Re-creation in Girish Karnad’s Plays N. Jeethenthiran Head of the Department (i/c) & Assistant Professor Department of Tamil, Government College, Kariyavattom, Thiruvananthapuram (Affiliated to the University of Kerala) Abstract The plays of Indira Parthasarathy and Girish Karnad are based on the reconstruction of mythology and history. The socio-historical background of the plays of both of them is examined. Girish Karnad’s play Tughlaq parodies Nehru’s politics, and I.P.’s play Aurangzeb parodies Indira Gandhi’s politics. The impact of the caste massacres committed in Thanjavur’s Keezhavenmani can be felt in I.P.’s Nandan Kathai. It was during the troubled period of the demolition of the Babri Masjid and the Ayodhya Ram Temple controversy that I.P. wrote the play ‘Ramanujar’, which expresses HinduMuslim unity. The killing of Bijjala at the altar can be linked to the death of Indira Gandhi. Just as ‘Basavanna’ made everyone Saranar, ‘Ramanuja’ tries to make everyone a Vaishnava. The story of Nandan Kathai is based on Saivism, Palipeedam is based on Veerasaivism, and Ramanuja is based on Vaishnavism. Keywords: Indira Parthasarathy, Girish Karnad, Tughlaq, Palipeedam (Taladanda), Aurangzeb, Nandan Kathai, Ramanujar, Basavannan, Reconstruction References 1. A. Ramasamy, “In Search of Another Play,” Veli-4, March-April, 1991, pp. 7–8. 2. Girish Karnad, “Introduction to Tughlaq,” in Three Plays – Nagamandala, Hayavadana, Tughlaq, p. 143. 3. R. Subramani, Crisis Situation in India, p. 41. 4. Indira Parthasarathy – Interview, Komal Swaminathan, From Kalaignar to Kalapriya: Subamangala Interviews, p. 346. 5. Girish Karnad, edited by Pavannan, Balipeetam, Foreword–Interview, p. XII. 6. 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C÷u {ø»ø¯ ‘|¢uß Pøu’ °À £õºUP•i²®. ¤µõ©n¨ ö£sqUS®, uõÌzu¨£mh CøÍbß |¢uÝUS©õÚ v¸©n {ø» ‘|¢ußPøu’ °À Ch® ö£ÖQÓx. £¼¥hzvÀ ¤äáÍß öPõÀ»¨ £kuø» C¢vµõ Põ¢v°ß CÓ¨÷£õk öuõhº¦£kzu C¯¾®. C¢vµõPõ¢v, AÁµx £õxPõÁ»ºPÍõÀ AÁµx CÀ»zvØSÒ÷Í÷¯ øÁzxU öPõÀ»¨ £kQÓõº. ¤äáÍÝ® Aµs©øÚUSÒ÷Í÷¯ øÁzx, AÁÚx (BuµÁõͺPÍõP •u¼À C¸¢uÁºPÒ) Si©UPÍõÀ (áP÷uÁÚõÀ) öPõÀ»¨£kQÓõß. ÷©¾®, C¢vµõPõ¢vUS¨ ¤ÓS, Áõ›_ Ai¨£øh°À AÁµx ©Pß µõãÆPõ¢v Bm]US Á¸QÓõº. £¼¥hzvÀ B]›¯º, £ßÚõmkU P¸zuµ[P® : Œ©Põ»z uªÇõ#Ĩ @£õUSPÒ öu. v. C¢xUPÀ¿›, |õPº÷PõÂÀ 6£UP® CuøÚ ©øÓ•P©õPU SÔ¨¤kQÓõº. µõ䯣õµzøu_ ©UPÓx[PÓx J¸ Ezu©©õÚ ÷Áø». Ax öÁÖ® µõä¯ Sk®£zx» ö£õÓ¢xhÓuõ÷» ©õzvµ® Á¢xhõx. BÍÓöuÓø©ø¯ ÁÍzxUPq®. AvPõµ® ußøÚz ÷ui Á¸QÓ AÍÄUS \õvUPq®. AxUP¨¦Ó® Psq® P¸zx©õ Põ¨£õzuq® (£¼¥. 43, 44) GßÖ £\Ásnß TÖÁuõP Aø©QÓx. C.£õ.Âß ‘µõ©õÝẒ øÁnÁzvØPõÚ |õhP®. \õv ÷ÁÖ£õkPøÍ AȨ£vÀ Cµõ©õÝá›ß £[S £ØÔ C¢|õhP® A»_QÓx. \õv ÷ÁÖ£õkPÐUS A¨£õØ£mhÁµõP Cµõ©õÝáøµ •ßÛÖzu C¢|õhP® •¯ÀQÓx. 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