Q. Do you agree with the view that all Dattani characters speak the same homogenised convent English? Discuss Dattani’s use of English in Tara.
While it’s tempting to suggest that all characters in Mahesh Dattani’s
plays speak the same “homogenized” or standardized form of English, this is an
oversimplification of Dattani’s nuanced approach to language. Particularly in
the play Tara, Dattani’s use of English is multifaceted, and the
characters speak with varying degrees of proficiency, inflection, and tone,
which subtly reflects their individual backgrounds, social status, and
psychological states. The linguistic choices in Tara are not merely
about communication but are deeply connected to the characters' identity, the
social pressures they face, and the complex relationships between them.
Dattani’s engagement with the English language in this play is a deliberate and
intricate part of his storytelling, shaping the play’s thematic concerns of
gender, identity, and family dynamics.
One of the central features of the play is the dual narrative of Tara
and her brother Chandan, who share a traumatic childhood marked by a medical
procedure that left them with permanently unequal physical forms. The two
characters speak English, but their use of the language differs based on their
gender, their educational backgrounds, and their emotional experiences. For
example, Chandan's speech is marked by a fluid, reflective quality, which
suggests a certain intellectual engagement with language. He uses English as a
medium for introspection, often expressing his thoughts and emotions with an
academic bent, which reflects his role as the more articulate, reflective
character in the narrative. His English is relatively free from regional
inflections, and his speech patterns align with a more cosmopolitan, urban
style, indicating his social positioning as an educated, middle-class
individual. In contrast, Tara's speech is more restrained and occasionally
punctuated with the kind of colloquial expressions that mark her emotional
vulnerability and social marginalization. This difference in the way they speak
English highlights the gendered nature of their experiences: while Chandan is
allowed the privilege of intellectual freedom, Tara’s identity is bound by a
more constrained, patriarchal understanding of gender roles.
Another important aspect of Dattani’s use of English in Tara
is the play's treatment of the family’s social class and cultural background.
The use of English here is not merely an aesthetic choice but serves as a tool
for negotiating identity. Tara and Chandan's parents, especially their father,
are portrayed as highly invested in securing a future for their children within
the framework of urban, middle-class aspirations. English is often spoken by
the adults as a sign of their desire for upward mobility, reflecting their
hopes to secure a better life for their children through education and social
advancement. The language, in this sense, becomes a marker of status. The
father's rigid insistence on conforming to social expectations, especially those
related to gender and the success of his son, is mirrored in his use of
English. He speaks the language with a sense of authority, but also a certain
degree of frustration, as he grapples with his inability to control the
outcomes of his children's lives. His use of English is not fluid or natural
but rather deliberate, underscoring his discomfort with the social inequalities
that impact his family.
Furthermore, Dattani’s manipulation of English serves as a means to
expose the contradictions within the characters’ worlds. While the characters
in Tara speak English as a sign of modernity and progress, they are
simultaneously caught in a web of traditional expectations. The contrast
between their command of English and their emotional or psychological states becomes
a powerful tool in Dattani’s critique of societal norms. For instance, Tara’s
speech is imbued with a sense of constraint, as she is not allowed the same
opportunities as her brother to develop her intellectual abilities. The
language barrier she faces is not merely one of vocabulary or grammar, but also
one of societal limitations. As her story unfolds, her use of English becomes
increasingly tinged with frustration and bitterness, reflecting her growing
awareness of the gendered inequality that defines her life.
Moreover, the play’s shifting timeframes also influence the way
language is used. The adult characters speak in a more formal register of
English, while the childhood scenes are marked by a more playful, informal
language. This contrast between the childhood and adult voices serves to
underline the transformation that the characters undergo, from a time of
innocence to a more disillusioned adulthood. In the childhood scenes, both Tara
and Chandan speak with a more colloquial, spontaneous tone, which marks the
vitality and openness of their early lives before the social constraints and
medical tragedy intervene. Their speech reflects a sense of freedom, of
potential not yet constrained by the rigid expectations of adult society. As
the play progresses and the realities of adulthood set in, the language becomes
more formalized, reflecting the loss of that innocence and the encroaching
influence of societal pressures. This use of contrasting registers of English
further emphasizes the theme of lost opportunities and the emotional weight
that the characters bear.
It is also worth noting the way Dattani uses English to reflect the
broader societal context in which the play is set. In Tara, English is
a symbol of both progress and oppression. While it represents the characters’
aspirations for upward mobility, it also underscores the structural
inequalities that persist within the family and society. Tara’s linguistic
struggle is emblematic of the broader gendered power dynamics that exist in the
play. As an individual constrained by her gender and her physical condition,
Tara’s speech lacks the freedom and fluidity of her brother's. Her struggles
are reflected in the very way she expresses herself in English. Chandan, on the
other hand, uses English as a tool of empowerment. His speech patterns are
smoother, more assured, and more reflective, aligning with his perceived status
as the privileged male member of the family. The language here is not just a
means of communication, but a way of reinforcing power structures, as Tara’s
inability to fully master English symbolizes her limited access to the
privileges that Chandan enjoys.
In conclusion, Mahesh Dattani’s use of English in Tara is far
from homogenized; rather, it is deeply reflective of the characters’ social
positions, emotional states, and the broader societal context in which they
live. By manipulating the nuances of English, Dattani reveals the underlying
power structures that govern the lives of his characters, particularly in terms
of gender and social class. The use of language in Tara serves as a
vehicle for expressing the complex, often painful realities of the characters’
lives, while simultaneously highlighting the contradictions and injustices that
shape their experiences. Thus, Dattani’s English is not a monolithic tool, but
a rich, multifaceted medium through which he explores themes of identity,
family, and societal expectations.
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