Girish Karnad’s second play, Tughlaq , written shortly after India’s first decade of independence, is rarely read as a mere historical chronicle. Instead, it functions as a “history play” in the Brechtian sense—alienating the audience to provoke critical thought about contemporary politics. The historical Muhammad bin Tughlaq is known for his visionary but disastrous policies: shifting the capital from Delhi to Daulatabad, introducing token currency, and alienating the orthodox clergy. Karnad amplifies these contradictions to create a protagonist who is simultaneously a poet, a devout Muslim, a murderer, and a lonely idealist. This paper will explore how Karnad uses Tughlaq’s tragedy to expose the gap between noble intentions and disastrous consequences.
| Theme | Explanation | |-------|-------------| | | Tughlaq’s lofty plans (e.g., capital transfer, token currency) fail because they ignore human nature and ground realities. | | Betrayal & Suspicion | Tughlaq trusts no one, yet is repeatedly betrayed. He also orchestrates betrayals (e.g., killing his own stepbrother). | | Religious Hypocrisy | Tughlaq projects piety but uses religion to manipulate. The play questions whether political power can coexist with true faith. | | The Failure of Leadership | A brilliant but detached ruler destroys his kingdom through impractical reforms and cruelty. | | Identity & Disguise | Aziz (a beggar) and Azam (a spy) use disguise to survive, exposing the gap between royal decrees and popular reality. | tughlaq by girish karnad text