The Curse or Karna by T. P. Kailasam

Hello, in this blog I will be discussing about the play "The Curse or Karna" by renowned Kannada playwright T. P. Kailasam. This post is crafted as a thinking activity assigned by Megha Madam.

T. P. Kailasam, born on June 4, 1884, in Karnataka, was a famous Indian playwright, poet, and politician. Known for his sharp wit and humor, he contributed greatly to Kannada literature and theater in the early 20th century. His plays often addressed social issues and included political satire. He passed away on September 9, 1946.

The Curse or Karna

The play is divided into five acts and was first published in 1946. It was written with the influence of Sophocles' plays and tells the tragic story of Karna from the Hindu epic, the Mahabharata. Karna is often associated with charity and heroic deeds, and people tend to glorify his character. His role in the Mahabharata is significant, he is an ambiguous figure and a fierce rival of Arjuna. Despite all of this, Karna remains a marginalized and neglected character throughout the Mahabharata's narrative.

Many writers have since sought to highlight such overlooked characters from grand narratives, retelling their stories from different perspectives. Amish Tripathi and Chitra Banerjee are notable examples of such retellings. Similarly, Kailasam places Karna at the center of the narrative, and allows us to see the events of the Mahabharata from his perspective. In this play, we also observe the deconstruction of myth and narrative, as Kailasam portrays Karna's agony and suffering.

Interpret all the acts and scenes in brief.

Karna, an important character in the Mahabharata, was born to Kunti but raised by a charioteer. Although he was a great warrior, he faced rejection because of his low social status. He learned warrior from Parashuram by pretending to be a Brahmin, but was later cursed to forget his skills at a crucial time. Karna was loyal to Duryodhana and fought against the Pandavas in the Kurukshetra war. Despite his courage, the curses and fate led to his defeat by Arjuna. Karna is remembered for his generosity and honor, making him a tragic yet respected hero.

In Act I, we see the Karna is leaving the ashram of Raama (Parshurama). He is originally a Kshatriya, disguised himself as a Brahmin to learn battle tactics under the strict Brahmin teacher Parashuram. He excelled as a student, mastering divine weapons and archery. One day, while Karna was with Parashuram, a bee stung him, causing immense pain. Karna endured silently to not disturb his guru, but when Parashuram saw the blood, he realized Karna's true identity. Angered by the deception, Parashuram cursed Karna that he would forget his divine weapon skills when he needed them most in battle. This curse later played a crucial role in Karna's fate during his duel with Arjuna. This major incident of Brahmin's curse is covered in the first act. And the act ends with the lines. 

POOR KARNA...POOR...POOR KARNA.

ACT II

This act opens in the royal stadium at the Hastinapur. Both Karna and Arjuna are facing off with each other and shows their prowess of archery. In this also Karna has to face several discrimination because of his lowly birth at the hand of Bheemasen.  

Act III

The Paanchaala Princess is holding a contest for suitors to win her hand by shooting at a target's shadow. Karna, also called Anga, impresses everyone by easily bending a steel bar into a bow. But when the Princess finds out he comes from a low background, she angrily says she can't marry a "sootha’s son." Hurt and embarrassed, Karna freezes and then leaves the contest. This shows the conflict between his great skills and the prejudices of society. The scene highlights themes of pride, shame, and how social status affects people.

Act IV

This scene takes place in Karna's tent on the battlefield of Kurukshetra. It reflects on the aftermath of Draupadi's humiliation during the dice game, but with a new twist. Karna tries to defend Draupadi but can't because of a curse placed on him, showing his noble character despite past conflicts. 

Draupadi gives a powerful speech, calling herself a "flame of hate" born to destroy the Kuru family. The scene gives the complicated relationships between the characters from the Mahabharata, especially between Karna and Bhima. It ends with a touching moment where Bhima understands Karna's true nobility and the sadness of his situation. This moment hints at the eventual downfall of the Kuru dynasty and emphasizes the moral complexities of the characters in the epic.

Act V

On the battlefield, Anga and Maadra are tense, with Maadra urging Anga to start the fight. Anga realizes he has been more focused on his skills than his duty to the Emperor. Despite Maadra's advice to aim for Arjuna's chest, Anga hesitates, remembering how Krishna saved Arjuna before. Frustrated, he refuses to use his serpent arrow again and instead declares his intention to defeat the enemy with a simple blade of grass, which worries Maadra about Anga’s mental state.

As the battle continues, Krishna pushes Arjuna to use his powerful arrow to finish it. Although Arjuna feels torn about attacking an unarmed foe, he decides to aim at Anga, tears in his eyes. He shoots an arrow that fatally strikes Anga, leading to sorrow and anger from Maadra and Aswattha. As Anga dies, he reflects on the curses that have followed him, while Maadra and Aswattha grieve their lost friend.

Various themes found in “The Curse”.

Class Conflict and Caste 

The foremost theme of the play is class conflict, particularly between Karna and other characters. The first instance of this class conflict occurs at the very beginning when Raama curses Karna for not being of the Brahmin caste, despite having acquired warfare skills from him. Subsequently, Karna is humiliated for being born into the lower "Shudra" caste. Panchalee, the princess, also insults Karna in front of many people during the royal court. Throughout the narrative, Karna suffers simply because he is neither Kshatriya nor Brahmin by birth. The term "Shudra" is occurs throughout the play, highlighting how his implied identity affects him in various areas, such as education, marriage, and most prominently, royal lineage.

Curse 

The story of Karna revolves around various curses in the play and in the actual Mahabharata narrative. It begins with the Brahmin's curse that, whenever he is in need of his archery prowess, he will be unable to use it on the battlefield. Moreover, he is also deceived by God Indra, who comes in disguise as a Brahmin and requests Karna's armor, his ultimate protector. Karna must give it up because he is cursed by Mother Earth to fulfill any favor asked of him early in the morning. If we were to remove all the curses from Karna's life, his circumstances would be vastly different.

Friendship

One key theme in the play is friendship. Karna first meets Duryodhana during archery lessons in Hastinapura, where they are competing against Arjuna. Duryodhana sees Karna as a strong rival to Arjuna and wants to befriend him to weaken the Pandavas. When it’s time for Karna to announce his lineage, Duryodhana steps in to say that Karna is a king, offering him the title of King of Angas so he can compete with Arjuna. Karna accepts the title and becomes a loyal friend to Duryodhana, who asks for his "endless friendship" in return. This marks the beginning of their strong bond in the Mahabharata. 

"it is but my king I may think of none else 

O mother mine, as I die promise thee"

Even in the time of the revelation that he is one of the brother of Pandva that he is their brother, Karna does not betray him. 

Destiny 

"Hate me...almost hate me? kill me?

almost kill me? slay me? almost slay me 

why ever for? what ever have I done to you?

The quote expresses Karna's profound confusion and sense of injustice regarding the hatred and suffering he faces. He questions why he deserves such animosity, highlighting his feelings of alienation and the unfairness of his situation, particularly the curses that stripped him of his skills at crucial moments.

It also reflects his fatalistic acceptance of his tragic fate. The repetition of phrases about killing and slaying underscores his awareness of impending doom, illustrating his struggle with identity and loyalty as he navigates the complexities of his life and ultimately faces his destiny in battle.

Here you can watch the introductory presentation on this topic 

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Edgar Allen Poe: Tales of the Macabre

 Greeting form the other side, 

In the past few days, I have been reading Poe's short stories, and in this blog post, I will share my experience and review. This review is part of a book reading club initiated by the Library Committee of the Department of English at MK Bhavnagar University. In this series, I have previously written a book review of Hemingway's "The Old Man and the Sea".

American  writer and a poet Edgar Allan Poe is most famous for his haunting tales. He primarily wrote short stories, a few poems, and one non-fiction work. His short stories feature bone-chilling descriptions of atmosphere, old castles, and gothic elements, with his use of spooky imagery being both fitting and noteworthy. Poe's stories encompass various themes such as revenge, bloodshed, horror, adventure, secrecy, torture, the human psyche, madness, and insanity, among others. For this reason, he is known as the father of English short stories and the initiator of detective fiction. The most important aspect of Poe's stories is that they never allow you to disconnect from their gripping descriptions.

"why will you say that I am mad?"

Perhaps "The Tell-Tale Heart" is his most famous short story. This tale contains everything a horror story needs. After reading it, you might question the sanity of the narrator himself. Throughout the story, the narrator insists on his sanity by recounting how masterfully and cunningly he carried out the murder of the old man, simply because he could not stand the old man's  evil "vulture eye."

 

"I was never kinder to the old man than during the whole week before I killed him." 

Another unsettling aspect of Poe's writing is his casual treatment of things we find most frightening. He nonchalantly portrays a murder in the middle of the story. One moment, we are moving through the narrative with a sense of unease, and the next, we are confronted with the news of someone being dead.

"Yes, he was stone, stone dead"

Moreover, it seems that he was well acquainted with various myths and history. In his stories, he frequently references Greek and Roman myths, philosophical figures, and historical events, as well as his knowledge of Italian art. Although his language is direct, lucid, and appealing, he sometimes uses archaic words and vocabulary.

"There are chords in the hearts of the most reckless which cannot be touched without emotion."

The above lines reveal much about the characters in Poe's stories. There are individuals who seem reckless and carefree about everything in life, yet these people also possess passions, vulnerabilities, and deep-seated emotions that emerge during the most unexpected turns of events. Perhaps Poe aims to uncover these hidden, savage, and latent aspects of the human psyche in his stories.  

"The Fall of the House of Usher" is another uncanny and mysterious story about the frightening Usher house. This tale also explores the insanity of the narrator's friend, who owns the eerie mansion. The narrator visits his friend due to his ill health, and as you read, you feel as though you are the one transported to the Usher house in place of the narrator. You experience every bit of horror that unfolds within its walls. The moment the narrator makes his escape after witnessing the living corpse is a pinnacle of terror. In other stories like "The Black Cat" and "The Cask of Amontillado," Poe particularly compels us to question the sanity of the narrator, as well as his own, especially with the portrayal of living beings entombed within walls.

There are many other short stories to explore. I hope this blog would be helpful to you to get a brief overview about Edgar Allen Poe and his short stories.  

Thank you for visiting & I dare you to read Poe at midnight. 

'Lakshman' by Toru Dutt and 'Deeno Daan' by Rabindranath Tagore | Poems

Welcome! This blog is written in response to the thinking activity assigned by Megha Ma'am. In this post, I will answer couple of answers related to poem, 'Deeno Daan' by Rabindranath Tagore and 'Lakshman' by Toru Dutt.

Do you think the character of Sita portrayed by Toru Dutt in her poem Lakshman differs from the ideal image of Sita presented in The Ramayana?

Toru Dutt

Toru Dutt is one of the earliest poetess from pre-independence India. Despite of being an Indian she was well versed in French and English language. She has mainly written poetry and also done some translation. Toru Dutt's family also was also connected with literature and writing so we can say that literature was in her blood. Toru is most famous for her translation of French poem, and published them under the title of " A Sheaf Gleamed in The French Field". This anthology contains her creative poems and French translation both. She has also written one unfinished novel 'Bianca: Or the Young Spanish Maiden'. 

Moreover, Toru was also inclined to Indian myths and legends and stories. She had published her book under the title of 'Ancient Ballads and Legends of Hindustan'. The poem Lakshman is part of this anthology. 

Lakshman: Overview  

The narrative poem "Lakshman" is inspired by the ancient Indian epic, the "Ramayana". It focuses on the conversation between Sita and her brother-in-law, Lakshman. In this poem, Sita is depicted as a human being with emotions and vulnerabilities, rather than the divine figure she is often portrayed as in the "Ramayana". The poem focuses on 

The poem provides a clear example of gender hierarchy through the interaction between Sita and Lakshman. In the poem, Sita often questions and accuses Lakshman. Toru Dutt also focuses on Lakshman as the main character, showing the relationship and power dynamics between them.

The poem consists of twenty-two stanzas, each with eight lines and alternating rhymes. Although it follows a ballad form, it deviates from the traditional ballad structure, which typically consists of four-line stanzas.

Summary of The Poem

Sita has the deceptive cry of Maricha rushi, who has taken the form of a golden deer, Sita urges Lakshman to leave their shelter and go rescue Ram. However, Lakshman is torn because Ram had ordered him to stay and protect Sita, as they are in a dangerous forest full of evil forces. Recognizing the seriousness of the situation, Lakshman refuses to follow Sita’s request. In her anger, Sita accuses Lakshman of disloyalty to both her and Ram. Lakshman feels helpless, caught between his brother’s command and Sita's harsh accusations.

Character of Sita

The poem begins with the following lines, 

Hark! Lakshman! Hark, again that cry!

It is, −it is my husband’s voice!

Oh hasten, to his succor fly,

No more hast thou, dear friend, a choice.

These words from Sita reflect her intense anxiety as a woman fearful for the safety of her husband and protector, believing he is in danger. Sita after hearing cries of help by his husband lord Rama, she becomes agitated and restless. She is telling Lakshman that she is hearing cries for help and he should be going to to aid Rama without any delay. Sita says that it is not the time to stand here and protect her but it is time to take action to help Rama. 

These lines also sets the tone of whole poem, and also tells much about Sita's character. Sita is also envisaging her self if anything happens to her husband. Being a women in ancient time she is also concerned about subsequent calamities that might fall on her in his absence. Mythology focuses on Sita’s speech, and the way she is portrayed as a delicate and fragile woman is also clear in the 'Ramayana'. Her birth story places her directly in a mystical world. She is said to have been born from the earth and raised by sages.

Sita's character is often seen as both mystical and ambiguous. Initially interpreted as a divine figure, she is later portrayed as a loyal, dutiful wife. Her mysterious birth, found by King Janak on the lap of the earth, led to her being declared the daughter of Mother Earth. She 

“…one brother takes

His kingdom,-one would take his wife!

A fair partition!”

Sita is so much sacred that she starts accusing Lakshman about the things that normal women might tell to her brother-in-law. She says that Lakshman wants his brother's kingdom that is why he is not going for help. Sita also puts grave accusations like by doing nothing, Lakshman can have kingdom and the wife of her brother as well. Such thing can be found in contemporary society as well, in which if any women's husband is dead then she has to marry with her brother-in-law with or without her consent. 

Instead of making Lakshman angry, Sita's accusations deeply hurt him. He feels helpless because he cannot ignore his brother’s orders, yet he is torn between following them and wanting to help Sita.

He said, and straight his weapons took

His bow and arrows pointed keen,

Kind, — nay, indulgent, — was his look,

At last, Lakshman is resolved to help his brother and went into forest. Lakshman decides to leave their shelter to help Sita, while still needing to protect her from danger. Before he goes, he draws a protective line around their space, called the Lakshman Rekha, and asks Sita to stay inside it for her safety. Despite the situation, Lakshman remains noble and dignified. This quality may be why Toru Dutt chose to title the poem 'Lakshman', and portrayed Sita as just normal women with all Earthly worries. 

What type of social mentality does Rabindranath Tagore present in the poem Deeno Daan?

The poem “Deeno Daan” was originally written in Bengali by Rabindranath Tagore around 1900. Tagore is a renowned figure in Indian literature, especially for his anthology of poetry 'Gitanjali', which helped him win the Nobel Prize in Literature in 1913. There are many translated versions available of this particular poem, and all of them are easy to understand.

Said the royal attendant, “Despite entreaties, king,

The finest hermit, best among men, refuses shelter

 In your temple of gold,

This poem primarily focuses on a conversation between a King and a Hermit. The poem begins with the Hermit presenting the idea that there is no God residing in the lavish temple of the King. After hearing this seemingly atheistic view, the King becomes furious. He responds by saying that there is a magnificent temple with an idol of God within it. From the Hermit’s perspective, it can be said that just because one builds a grand temple with a golden, lavish idol, it does not necessarily mean it becomes a true temple of God.

Sparing not a glance for the palace of gold,

Thronging to where a flower in a devout heart

Spreads heaven’s incense. On the bejewelled platform

The god sits alone in the empty temple.”

In the poem 'Deeno Daan',  Rabindranath Tagore criticizes a materialistic mindset. He contrasts the focus on wealth, like golden palaces and rich temples, with true devotion, which is found in a sincere heart. Tagore suggests that people wrongly believe God is found in luxury, but real spirituality lies in simple, heartfelt devotion, not in material riches.

“There is no god in that temple,” said the hermit. Here, we can see that Tagore though in implied manner criticized the people as well for having the blind faith in the such kind of lavish temples and and materiality behind them. Sometimes such temples also used to manipulate the masses, often to gain political advancement. 

The king said, “No god! You speak like a godless man,

Hermit. A bejewelled idol on a bejewelled throne,

You say it’s empty?”

The king in return does not able to understand the gravity of question that why hermit has said that there is no God in king's temple. The King naively asserts that hermit is godless man , someone who has no belief in God. Here, king is unable to see beyond the material construct of things, and he proudly says that God is there on bejewelled throne. In return hermit accused that the king is filled with arrogance, and his royal throne also has filled with pride and not with the spiritual presence of God. Further king says he made this colosol temple with twenty lakh gold coins 

Said the tranquil hermit, “The year when the fires

Raged and rendered twenty thousand subjects

Homeless, destitute; when they came to your door

With futile pleas for help, and sheltered in the woods,

In caves, in the shade of trees, in dilapidated temples,

When you constructed your gold-encrusted building

With twenty lakh gold coins for a deity, god said,

‘My eternal home is lit with countless lamps

In the blue, infinite sky; its everlasting foundations

Are truth, peace, compassion, love. This feeble miser

Who could not give homes to his homeless subjects

Expects to give me one!’ At that moment god left

To join the poor in their shelter beneath the trees.

In these lines, the Hermit reveals the King’s neglect when people came to him for help after a fire in the village. The King ignored their pleas and didn’t help them. The Hermit emphasizes that true worship of God is shown by helping the poor and needy. He argues that a grand temple holds no value if it can’t shelter those in need. According to the Hermit, helping others is the highest form of worship, and by failing to do so, the King is committing a sin against God, not just as a ruler, but as a human being.

Even today, there are many incidents where temples and other non-living things are considered more important than people. Large temples are built, and for that, many people have to give up their land and homes. If they refuse, the government forces them. The same thing happened with the construction of the Ram Mandir in Ayodhya. 

In the poem "Deeno Daan", Rabindranath Tagore talks about the tension between wealth and moral responsibility. The Hermit criticizes the King for spending a lot of money on building a grand temple while ignoring the poor and homeless, especially during difficult times. This is similar to what is happening with the Ram Mandir construction. Many people, like Ram Kishor and the Madhukar family, lost their homes and livelihoods because of the temple project, which led to destruction and displacement. (Scroll.in)

Neglect of the Poor and Displacement: Just as the King ignored the homeless in the poem, the development projects for the Ram Mandir, such as road widening and land acquisition, have led to the displacement of thousands of families in Ayodhya. These residents, often poor, like Ram Kishor and the Yadav families, have lost their homes and livelihood, with little or no compensation, much like the subjects in the poem who were left homeless after the fire.

Lavish Spending vs. Human Welfare: In "Deeno Daan", the King spends lavishly on building a golden temple while ignoring the suffering of his people. Similarly, the Ram Mandir project has been accompanied by massive spending on infrastructure, including roads and luxury businesses, while local residents like farmers and traders suffer from the loss of their homes, livelihoods, and land.

Moral Critique of Leadership: The Hermit criticizes the King for his lack of compassion and responsibility, highlighting the moral failure of leadership that prioritizes grand monuments over the welfare of the people. This is reflected in the discontent of the people of Ayodhya, who blame local officials for ignoring their needs and failing to provide fair compensation while the focus remains on the temple's grandeur and political significance.

While critiquing the temples, we also should acknowledge of good things done by many temples. There are such temple which provides free food and water for many poor people, and many shelters are also being made for such peoples by temple authorities. Moreover, there are certain financial help is also given to poor students as well. And many temples also runs schools and hostels in which they provide everything to the students free or in minimal chargers.

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