Paper_202 Memory and Trauma_ Hardika's Role in Revealing Generational Prejudice in _Final Solution_.pptx

Memory and Trauma Hardika's Role in Revealing Generational Prejudice in Final Solution

1. Memory and Trauma: Hardika's Role in Revealing Generational Prejudice in "Final Solution"

2. NAME :- HARDII VHORA ENROLLMENT NO. :- 5108230050 SEM. :- 3 BATCH :- 2023-2025 ROLL NO. :- 08 PAPER-CODE :- 22407 PAPER NAME :- Indian English Literature – Post-Independence SUBMITTED TO :- SMT. GARDI DEPARTMENT OF ENGLISH MKBU E-MAIL:- [email protected]

3. T able of contents Hardika’s Role in Highlighting Generational Prejudice Introduction Hardika as the Embodiment of Memory Hardika’s Journey Toward Introspection Trauma as a Catalyst for Prejudice Conclusion 01 04 02 05 03 06

4. Research Question How does Hardika's character in Mahesh Dattani's Final Solutions reveal the impact of memory and trauma on perpetuating generational prejudice, and what insights does this provide into the cyclical nature of communal tensions in India? Hypothesis Hardika's recollections of trauma from the Partition in Final Solutions serve as a critical narrative device that demonstrates how unresolved historical wounds shape and sustain generational prejudices. By exploring her internal struggles and interactions, the play reveals that addressing inherited biases is key to breaking the cycle of communal discord.

5. Introduction:- 1. Birth and Early Life: Mahesh Dattani was born on August 7, 1958, in Bangalore, Karnataka, to parents originally from Porbandar, Gujarat. 2. Influence of Vernacular Theatre: Watching Kannada, Marathi, and Gujarati plays with his family during childhood significantly influenced his passion for theatre.

6. 3. Education and Cultural Context: Attended Baldwin High School, where English proficiency and Western culture dominated, but his interest in Indian languages and culture remained resilient. 4 . Prominent Works: Authored 11 stage plays, including ‘Final Solutions’, ‘Dance Like a Man’, and ‘Tara’, exploring themes such as familial conflicts, gender roles, and subaltern concerns. 5. Legacy and Global Recognition: Recognized for pioneering Indian drama in English and addressing contemporary social issues, earning international acclaim as a playwright par excellence. (Dawande)

7. Brief Introduction of ‘Final Solution’:- Theme: ‘Final Solutions’ explores the deep-rooted communal tensions and prejudices in Indian society. Setting: The play shifts between the past and present to highlight generational and cyclical communal discord. Plot: It revolves around the interactions between a Hindu family and two Muslim boys seeking refuge during a riot.

8. 4. Conflict :The narrative examines biases, fears, and the façade of secularism through intense familial and societal confrontations. 5. Stagecraft: Dattani uses innovative techniques like a movable set and a Greek chorus to symbolize the fluidity of memory and blame. 6. Message: The play advocates for self-reflection and empathy to dismantle prejudices and foster communal harmony.

9. 2. Hardika as the Embodiment of Memory :-

10. Hardika embodies the collective pain of Partition, representing a generation scarred by communal violence. Her memories serve as a narrative link, connecting historical prejudices with contemporary conflicts. Hardika’s recollections are influenced by personal trauma, highlighting the emotional weight of memory. Her unresolved bitterness perpetuates generational biases against the Muslim community. Hardika’s rigid views are juxtaposed with the evolving, conflicted perspectives of the younger family members. Her narrative underscores how unhealed wounds from the past feed into the cycle of communal discord.

11. An interesting element of the play is the presence of Hardika and Daksha, shown to be two different, though at the same time, same characters (Dattani 2000: 165). Because of this ‘sameness’ of the two characters. The play opens with Daksha's diary, a self-conscious record of personal memories, written for a future reader—be it another person or an evolved self. Dattani uses two characters to portray the grandmother: Daksha, the rebellious young bride reading her diary, and Hardika, the elder who has conformed to her husband's views on her Muslim neighbors . Despite their differences, their thoughts and memories are seamlessly interwoven, as shown in the diary entries. (Sigroha 231)

12. Hardika’s Dialogue:- And I wrote. A dozen pages before. A dozen pages now. A young girl’s childish scribble. An old woman’s shaky scrawl. Yes, things have not changed that much. (Dattani 2000:167) (Sigroha 232)

13. 3. Trauma as a Catalyst for Prejudice:-

14. Hardika’s painful memories of Partition shape her deep-seated mistrust of Muslims. Her experiences of betrayal during Partition lead her to generalize suspicion toward the "other" community. Unresolved emotional wounds fuel her inability to reconcile with past and present communal harmony. Her bitterness drives her to transmit these biases to the next generation. Hardika’s trauma exemplifies how personal suffering reinforces collective mistrust across generations.

15. The communal strife triggers memories of the partition for Hardika, who was a new bride in 1948. Her memories are conveyed through the character of Daksha, who reads from her diary. Hardika in play represents the prejudice that exists in society towards different religious communities. The character of Hardika holds a strong prejudice against Javed, a Muslim boy. She is shown to have a deep-rooted prejudice against Muslims, which is evident in her interactions with Javed. This can be observed from the lines: “Hardika: How could he let these people into my house? They killed his grandfather. They will hate us for protecting them. Asking for help makes them feel they are lower than us. I know! They don’t want equality. They want to be superior.” (Sumit 55)

16. 4. Hardika’s Role in Highlighting Generational Prejudice:-

17. Prejudice is defined as preconceived opinions that are not based on reason or actual experience. In "Final Solutions," the prejudice of the Hindu and Muslim characters towards each other is the main cause of communal violence . The play is set in the aftermath of the 1992 Babri Masjid demolition and the subsequent riots that took place in India. Hardika's prejudice against Javed is based solely on his religion. She is unable to see him as an individual and instead views him through the lens of her religious prejudices. She believes that all Muslims are responsible for the violence that is happening in their neighbourhood and holds Javed responsible for the tensions between the Hindu and Muslim communities. Throughout the play, Hardika’s hostility toward Javed reflects her prejudice, rooted in his religion. She accuses him of theft upon entering her house, saying, "I don't want you in my house. You're a thief." Her contempt exemplifies societal biases that fuel communal tensions and perpetuate violence between Hindu and Muslim communities.

18. The line "It is in their blood to destroy" is used by the chorus to refer to the character of Javed, a Muslim boy who is a victim of the prejudice and violence of the Hindu characters in the play. The line is used to suggest that Javed's Muslim identity is the root of the prejudice and violence that he faces from the Hindu characters in the play. The use of the line by the chorus highlights the fact that prejudice and enmity between the two communities are often based on deep-rooted cultural and historical factors. As chorus (Muslims masks) says: “They say we razed their temple yesterday. That we broke their chariot today. That we’ll bomb their streets tomorrow.” (Sumit 55)

19. 5. Hardika’s Journey Toward Introspection:- Hardika occasionally reflects on her past actions and their consequences, hinting at an evolving awareness of her biases. She begins to perceive how her prejudice has strained her relationships and influenced her family's outlook on communal harmony. Hardika's introspection reveals how her mistrust perpetuates discord within her immediate community. Her memories and regrets serve as a warning against the cyclical nature of hatred and the importance of self-awareness. Hardika’s character arc subtly encourages the audience to question their own inherited prejudices and work toward reconciliation.

20. 6. Conclusion:- Hardika’s story highlights the need to confront historical trauma to understand its role in shaping prejudice. The play suggests that self-reflection is vital to dismantling generational biases and fostering communal harmony. Hardika embodies the potential for introspection to challenge ingrained beliefs and inspire change. The play calls for empathy and dialogue as tools to address societal divisions rooted in memory and trauma. Final Solutions offers a timeless reminder of the importance of reconciliation in bridging communal divides.

21. # References:- Dawande, Jitendra. “Mahesh Dattani as a Playwright or the Autobiographical Note in Mahesh Dattani's Plays.” International Journal of Science and Research (IJSR) , vol. 10, no. 10, October 2021, p. 3. www.ijsr.net , https://www.ijsr.net/archive/v10i10/SR211014083450.pdf. Accessed 13 November 2024. Sigroha, Suman. “ROLE OF MEMORY IN SHAPING CHARACTERS’ IDENTITY IN MAHESH DATTANI’S FINAL SOLUTIONS.” vol. 13, no. 2, December 2013, p. 12, https://journal.unika.ac.id/index.php/celt/article/viewFile/26/pdf. Accessed 13 November 2024. Sumit, Mr. “Mahesh Dattani’s "Final Solutions": Role of Prejudice and Personal Enmity in communal violence.” International Journal of New Media Studies (IJNMS) , vol. 10, no. 1, January-June 2023, p. 3, https://ijnms.com/index.php/ijnms/article/download/44/42. Accessed 13 November 2024.