Do you agree with the view that all Dattani characters speak the same homogenised convent English? Discuss Dattani’s use of English in Tara.

 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.

At the outset, it’s important to recognize that Tara is a play that explores the social and psychological complexities of growing up in a middle-class Indian family, marked by deep-rooted patriarchal traditions and the societal pressure to conform to specific gender roles. Set in an urban Indian context, the play's characters are influenced by the bilingualism and cultural hybridity that is typical in postcolonial India. The fact that English is spoken by all of the characters signals their social positioning within a modern, urban milieu, but it also reveals subtle class distinctions and educational divides within the family.

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.

0 comments:

Note: Only a member of this blog may post a comment.