Girish Karnad – Hayavadana
Girish Karnad’s Hayavadana is a landmark play in modern Indian drama, blending folk theatre, myth, magic realism and classical themes. It retells a story from the Kathasaritasagara and Thomas Mann’s Transposed Heads, exploring identity, completeness, desire and the conflict between mind and body. The play has two acts, narrated through songs, masks, dolls and rituals typical of Indian folk performance.
Act 1 – Padmini, Devadatta & Kapila
The play opens with a Bhagavata (narrator) who sets the tone of a folk performance. We are introduced to Devadatta, an intellectual poet, and Kapila, a physically strong but simple man. They are close friends, representing mind and body.
Devadatta falls in love with Padmini and marries her. However, after marriage, Padmini grows fascinated by Kapila’s strong body and masculine energy. Devadatta becomes increasingly insecure, jealous and conflicted.
During a journey to Ujjain, Devadatta and Kapila stop at the temple of Kali. In a moment of emotional turmoil, Devadatta cuts off his own head, believing Padmini prefers Kapila.
Kapila, shocked and guilt-ridden, also sacrifices himself by cutting off his head. Padmini discovers both bodies and pleads for help. Goddess Kali appears and revives them but Padmini accidentally fixes the wrong heads to the wrong bodies:
- Devadatta’s head + Kapila’s body
- Kapila’s head + Devadatta’s body
This creates the central question of identity: Who is the real husband?
Karnad ends Act 1 with tension, placing the audience at the crossroads of body versus mind, desire versus duty.
Act 2 – Transformation, Conflict & Tragic Resolution
Act 2 shows the consequences of the transposed bodies. With Kapila’s strong body, Devadatta begins to enjoy physical pleasures, food and comfort. His body slowly turns soft and weak again, returning to its original nature.
Kapila, now with Devadatta’s weak body, retreats into the forest. He realises that the body determines behaviour more than the mind. Padmini, torn between the two men, visits Kapila in the forest with her child.
During a heated moment, Devadatta finds Kapila and Padmini together. A fight breaks out between Devadatta and Kapila, leading to both their deaths. Padmini performs sati-like self-immolation by joining them on their funeral pyre.
The Bhagavata narrates the epilogue, shifting focus to Hayavadana, a man with a horse’s head who seeks completeness. When he prays to Kali, instead of removing the horse’s head, she turns him into a complete horse. The irony reveals the absurdity of seeking perfection.
The play ends with Padmini’s child singing happily with Hayavadana, symbolizing renewal, imperfection and acceptance.
Major Characters
- Devadatta – Scholar, poet; represents intellect, mind and ideals.
- Kapila – Strong, earthy; represents body, instinct and vigour.
- Padmini – Torn between mind and body; symbol of complex human desire.
- Hayavadana – Man with a horse’s head seeking completeness.
- Bhagavata – Narrator, link between audience and story.
Major Themes
- Identity and Completeness – Head vs body; the search for wholeness.
- Desire and Morality – Padmini’s inner conflict between love, attraction and duty.
- Mind vs Body – Devadatta (mind) and Kapila (body) represent two halves of human nature.
- Myth & Folklore – Traditional storytelling combined with modern psychology.
- Fate & Irony – Efforts to achieve ideal human perfection lead to tragedy.
- Imperfection – Hayavadana’s transformation questions societal ideals about completeness.
Symbols
- The Transposed Heads – Identity confusion, psychological duality.
- Hayavadana – The impossibility of human perfection.
- Kali – Divine power that mocks human desires.
- Padmini’s Child – Continuity of life, acceptance.
Critical Analysis
- Karnad blends myth with modern existential questions.
- The play critiques rigid definitions of identity and gender roles.
- Padmini represents realistic female desire, challenging patriarchy.
- Karnad suggests that human beings are never fully complete.
- Ending shifts from tragedy to comic-folk tone, showing life’s unpredictability.
Quick Revision Table
| Aspect | Details |
|---|---|
| Author | Girish Karnad |
| Title | Hayavadana |
| Year | 1971 |
| Acts | 2 |
| Genre | Mythological Folk Play / Modern Drama |
| Main Themes | Identity, mind vs body, desire, incompleteness |
| Symbols | Heads, body, horse-man, Kali |
| Message | Human beings are imperfect; true identity is fluid. |
Note: AdSense Auto Ads will automatically manage ad placement.
Let me know your doubts