Person and woman relationship in naga mandala

This newspaper is eligible Man and Woman marriage in Girish Karnad’s Naga-Mandala.. Simone para Beauvoir in her article “The Second Sex” claims that “The whole of feminine background has been man-made. Just as in America there is no Desventurado problem, but instead a white colored problem; just like anti-Semitism can be not a Legislation problem, it really is our trouble; so the female problem is definitely a man issue. ” Female in Naga-Mandala is seen as a great “other” inside the society. It is an analysis of agony and anguish faced by men and woman in the contemporary society and their marriage.

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Karnad’s enjoy reflect upon the function which females play in the world and the pictures of which are noticed as neurological, social condition and Indian culture. Every men and woman happen to be said to stay in a unoriginal way and this gives these people a good identity in the world. Karnad’s play focuses on disputes and dilemmas experienced simply by men and woman inside their social scenario.


The study aim in analyzing the person woman marriage which is depicted in the Of india play Naga- Mandala making use of the concepts of Simone sobre Beauvoir’s “Second Sex” and the concepts of Patriarchy.

Significance of the study/Theoretical Framework

Study regarding man and woman relationship differentiates guy and female regarding conversation, closeness and their patterns. The concept of patriarchy oppresses girls among the culture. In the play Naga- Mandala Karnad obviously portrays the relationship between gentleman and woman with the feminist perspective. Your research employs both theoretical and analytical approach with the help of the written text using the ideas of Simone de Beauvoir.

Literature Review

Research paper titled Naga-Mandala: A Story of Marriage and Love, offers the relationship of man and woman pictured in the enjoy.


Naga- Mandala is known as a play about a young couple named Rani and Appana. Appana is viewed as husband who not take proper care of his better half and locks her up in the house and he comes only inside the afternoon to consume his lunch. According to Simone para Beauvoir, Appana treats his own wife as the “other” besides making her unaggressive and stationary. He uses her like a so called “wife” to show the society they are living jointly. Appanna does not lead an excellent life together with his Rani and imprisons her by fastening her up inside the house. Appana’s power is usually Rani’s subversive nature and the respect she gives with her husband. Rani is described to be a great wife over the play. The girl obeys her husband and cooks lunch break for him every day. Your woman sees her husband as being a sacred deity and worships him over the play. Based on the Indian society marriage is seen as something holy of “sex and love” between men and women. In this perform Rani sets and lives her sociable life by herself, who will be appointed by her spouse and the traditional society.

Throughout the play Appana does not demonstrate any love or love to his wife. The relationship of Appanna and the concubine is considered to be the symbol of lust. Girish Karnad shows Appanna as the best example of male chauvinism. He would go to the soupirant and neglects his very own wife and locks her so that she doesn’t get into any relationship. He is seen as a selfish individual that leads a lustful your life with an additional woman. He uses this kind of woman only for her human body and not due to love. This shows that he could be escaping from the reality and cheats his wife and the soupirant. He is dealing with the concubine and Lagu in an unfair manner. The partnership with Rani and Naga is considered to a genuine love in the perform. Naga comes in the form of Appanna and loves Lagu who was in isolation coming from her actual husband. Naga gives Lagu everything that your woman missed by her husband.

He likewise understands and respects her feelings and emotions. Even though Naga is a snake he expresses true love to his beloved which a human being are unable to give to his wife. Because of their like, Rani becomes pregnant. In Kiranth’s terms, “… an Indian girl knows that motherhood confers upon her an objective and id that not more than that in her culture can”. At the end of the play Rani is seen as a mother and good partner to Naga. The fatality of Naga plays a major role inside the story in which he sees Appanna and Rani with their child sleeping together, this individual feels envious and this shows that he loved Rani and was incredibly possessive on her behalf. He dead for the sake of Lagu and her family. Lagu asks Appanna to prepare to perform a sacred ritual to get the deceased Naga and her boy should do the very last rights of his dad, and Appana agrees with her strange require. This displays the true love that the girl had pertaining to Naga. A. K. Ramanujan writes the “ritual experience itself is known as a public possibly told during the Cobra Festival to propitiate snake, to assure safety and fertility inside marriage. ”


The analysis of ‘Man- Female relationship in Karnad’s play, serves as the very best example of woman’s position in the society. “…marriage is always open, and a recognition in the blessings and goodwill of the outsider intended for bringing together the husband and better half. ” This can be clearly seen in the play where snake- lover is seen as a leading man in the perform by expressing his true love to his beloved. Appanna has failed in the relationship together with his wife plus the fate makes him to simply accept Naga’s kid as his own. Both men with different characters provide the twist in the enjoy, and they are immediate contrast between each other. Within a happy family members the husband should always compromise with all the wife plus the wife should certainly compromise with husband. As a result, after the loss of life of Naga, Appana begins a new existence with his partner Rani.


Karnad, Girish. Naga-Mandala: A Play with a Cobra. Fresh Delhi: OUP, 1991. Print.

Beauvoir, Simone de. The other Sex. Trans. Constance Canto and Lin Malovany-Chevallier. Arbitrary House, 2009. Print


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