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By Diana Dimitrova

This article stories the illustration of gender and faith in Hindi drama from its beginnings within the moment half the nineteenth century until eventually the Sixties. the focal point is on how various non secular and mythological types concerning girls were remodeled in Hindi drama.

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Gender, Religion, and Modern Hindi Drama

This article experiences the illustration of gender and faith in Hindi drama from its beginnings within the moment half the nineteenth century until eventually the Nineteen Sixties. the focal point is on how diversified spiritual and mythological versions bearing on ladies were transformed in Hindi drama.

Additional info for Gender, Religion, and Modern Hindi Drama

Sample text

It cannot be shaken by a desire to make Mallikà happy and to love her. Does Kàlidàsa really love Mallikà, or does he love only himself? No matter what the answer might be, it is a fact that neither he nor the young woman questions his moral right to behave as he does. A question arises about the ethical dimensions of his actions: what gives him the moral right to ruin her life? What compensates for his failure to fulfil his obligations to her as a woman – that is, to make her his wife? Was he able to live his life as he chose because he was considered a gifted artist or because he was a man, not a woman?

This stereotypical picture of Hinduism as a religion that oppresses women is incorrect and misleading in several ways. Hinduism is not a single uniform tradition: it is represented by several multifaceted religious traditions. 3 The ideology of patiyoga (womenÙs religiosity as service and devotion to the husband-god) and the notion of strãdharma (the traditional norms, duties, rules, and roles of womanhood) as the ideal of female behaviour were limited to the period of classical Hinduism (200 BCE to 1100 CE ).

You have been writing [poetry] and I understood myself needed, this was also an achievement of my life ... Do you know how these years of my life were spent? [Do you know] what I have experienced? (âùàçh kà ek din, 92–3) However, he fails to take the opportunity to come back to his beloved. At the end of the play, he assumes wrongly that his conflict is with time because he has come too late: Mallikà has had a baby. In reality, it is his abandonment and betrayal of Mallikà and their mutual love that causes his self-alienation and results in artistic inability.

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