How does karnard deal with the theme of inter caste marriage in his drama?
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Answer:
In Karnad's play, it's not Basavanna who is that the most fascinating character, however the king of Kalyan, Bijjala, a person blessed with with strength, scepticism, dignity, and a conscience. Bijjala may be a shut admirer and intimate of Basavanna - who for several years was his royal treasurer-yet doesn't hesitate to cross him in discussion. Bijjala's ancestors came from the lower castes, and he, higher than Basavanna, understands that caste may be a skin you can't shed, despite what quantity power and cash you wield. Inevitably, Bijjala- having acquiesced reluctantly to the doomed alliance-is the primary victim of the inferno that erupts.
Karnad apparently wrote this play at the time the mandir and Mandal movements were peaking. And it's with desirable inspiration that he has found illustration in associate 800-year-old story of the disturbing queries that still vex United States.
Inter-caste marriages are a giant deal in india, large enough to induce you killed, or perhaps worse. Yes, scenario is rising and nowadays over 11 November marriages are inter-caste, however the issues close it change and manage to persist.
Caste may be a notion; it's a state of the mind, writes Ambedkar, that prevents United States from having a “consciousness of kind”. By “consciousness of kind, Ambedkar was invoking the phrase coined by yank social scientist Franklin Giddings, who outlined it as, “a state of consciousness within which any being, whether or not low or high within the scale of life, acknowledges another aware being as of like kind with itself.”
Even among the educated, stereotypes of caste exist in abundance (or stereotypes of ‘category’, given the actual fact that for many upper-caste Hindus and alternative members of the non-reserved section the matter of caste is “felt” only if it issues the difficulty of reservations.