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.
Mahesh Dattani’s play Tara is a landmark in Indian English drama, and it invites a critical analysis of language, particularly the way Dattani uses English. The play revolves around the emotional, social, and psychological experiences of its characters, primarily focusing on the life of Tara, a girl born with a malformed body due to the consequences of gender bias in Indian society.
Dattani’s use of language in Tara plays an essential role in conveying
the multifaceted identities of the characters, their interactions, and the
societal forces that shape their lives. The question of whether all Dattani
characters speak the same homogenized convent English, devoid of any cultural
or regional specificity, is a provocative one. To answer this question, it is
essential to examine the different registers of English Dattani uses in Tara,
how the characters speak, and what these linguistic choices signify in relation
to the themes of the play.
In order to
evaluate whether Dattani uses a homogenized "convent English" for all
of his characters, we must first recognize the cultural, historical, and social
context in which the play is set. Tara is set in contemporary urban
India, a society that is still grappling with issues of gender inequality, the
caste system, and traditional social norms. Dattani’s use of language in the
play serves as a reflection of this society, where English is the medium of
education, social prestige, and professional communication, but is also an
indicator of class status and cultural influence.
English in Indian
society often operates as a marker of education and social class. The upper
echelons of society, especially in urban areas, use English as their primary
language, a remnant of colonial rule. Conversely, the lower classes or rural
areas may use regional languages or dialects. However, in plays like Tara,
English is frequently employed as a tool to convey both modernity and social
standing. It is essential to acknowledge that English is not just a simple
communication tool in the Indian context, but a symbol of aspiration, class
mobility, and access to power. Therefore, the use of English in Dattani’s plays
must be viewed through this lens of socio-political dynamics.
2. The
Characters and Their Use of English
The characters in Tara
come from different social strata, and their linguistic choices reflect their
cultural backgrounds and aspirations. The central characters, including Tara
and her twin brother Chandan, are from an upper-middle-class family in
Bangalore, and they speak in an educated, polished form of English that fits
their social context. Tara’s and Chandan’s parents, in particular, use English
in a way that suggests their social and economic status. However, Dattani’s
portrayal of their use of English is not necessarily an indication of
homogenization; rather, it serves to distinguish their characters within the broader
social fabric of the play.
Tara and
Chandan, as children of educated
professionals, speak fluent, standardized English, though their emotional
struggles are often conveyed through the content of their dialogue rather than
the linguistic style itself. Tara’s words reveal her internal conflict with her
body and her gender, but her speech remains grammatically correct and largely
unaffected by regional dialects or slang. Similarly, Chandan’s language, though
articulate, occasionally betrays an emotional undercurrent, especially as he
grapples with guilt and confusion regarding the treatment of his sister.
The parents,
particularly the mother, are also depicted using this polished English,
indicative of their educational background and social aspirations. The mother’s
dialogue, especially when she speaks to her daughter about the inequalities
that define their lives, is delivered in a language that reflects her desire to
protect her daughter within the boundaries of class and societal expectations.
However, it is not just the English she speaks, but what she says, that reveals
the themes of gender, privilege, and social conditioning.
The
character of the doctor, who
becomes a key figure in the drama, also speaks English with the same air of
professionalism and objectivity, further underscoring the class distinction
between the medical professionals and the lower-income workers who serve the
family. Yet, Dattani is careful to reveal that while the use of English
signifies class status, it does not necessarily correlate to an enlightened or
ethical perspective on the societal issues at hand.
Dattani’s characters, while using English as the medium of communication, still convey deep emotional and moral nuances that add complexity to their interactions. For example, even though Tara and Chandan speak fluent English, the struggles they face – Tara’s physical deformity and Chandan’s guilt and emotional trauma – are not erased by the language they use. In fact, the language may serve as a mask for the deeper psychological and emotional realities that lie beneath their polished surfaces.
3. Does
Dattani Create a Homogenized “Convent English”?
Now, addressing
the core question of whether all Dattani characters speak the same homogenized
“convent English,” it is necessary to carefully analyze the specific linguistic
choices that Dattani makes for each character. It is important to consider the
social, psychological, and emotional aspects that language in Tara
communicates. There is a tendency to assume that characters who use English in
a standardized or “convent” form do so without any distinctions or variations,
yet Dattani’s writing shows that language is used with intention and subtlety.
Dattani does
indeed employ a uniform register of English for many of the main characters,
especially those who belong to the upper-middle class. However, this does not
mean that all characters speak in the same way, or that their speech lacks
individuality. For instance, there is a notable difference between how the
mother uses English and how Chandan or Tara speaks. While the mother’s speech
is often authoritative and protective, Chandan’s language often reveals
confusion and vulnerability, particularly as he struggles with his own emotions
and sense of guilt. Tara’s speech, while perhaps more measured, conveys her
frustration and helplessness in subtle ways.
However, the
homogeneity of language does become more noticeable when Dattani shifts between
characters of different social backgrounds. If the characters of the play were
more diverse in terms of their social class and background, we might see a
greater range of linguistic registers. In contrast, since many of the
characters in Tara occupy similar social strata, their use of English
appears to be relatively uniform. But this does not necessarily mean the
English is devoid of meaning. Dattani’s ability to use standardized English as
a tool for communication reflects both the class status of the characters and
the cultural context of contemporary urban India, where English has become the lingua
franca of the educated elite.
4. The
Regional Influence on Dattani’s English
Although Dattani’s
characters in Tara largely speak in standardized English, it would be
an oversimplification to claim that their speech is devoid of regional
influences. In fact, Dattani's writing reflects a nuanced awareness of the
cultural diversity within India. While his characters may use English as their
primary medium of communication, their emotional expressions and cultural
references reveal their regional backgrounds and experiences. For instance,
Dattani often weaves in references to local customs, societal norms, and
everyday experiences that resonate with the audience’s knowledge of Indian
culture.
Tara’s speech, for
instance, reflects her internal conflicts, but there are moments when her
dialogue hints at an awareness of traditional gender roles within her family
and society. Though her English is grammatically correct, the content of her
speech is often rich with emotional depth and regional resonance. She is
struggling not just with her physical deformity but also with the societal
expectation that women behave in certain prescribed ways. This nuanced
emotional register is conveyed more through the content of the speech than the
language itself.
Similarly, Chandan’s
use of English, while also polished, carries the weight of his emotional trauma
and the psychological complexities of his character. Chandan is torn between
his guilt and his desire for redemption, and his language reflects his
confusion and sorrow. The regional influences in Chandan’s dialogue, if not
overtly noticeable through specific dialects or accents, are instead woven into
his expressions and interactions, revealing a complexity that extends beyond
the form of the language.
5. Dattani’s
Use of Code-Switching and Bilingualism
Although English
serves as the dominant language in Tara, Dattani also subtly
integrates elements of code-switching and bilingualism into the characters’
speech. While most of the dialogue in the play is in English, there are
instances when characters shift to Hindi or Kannada, the regional languages of
India, to express emotions, particularly in private or intimate moments. This
code-switching is particularly evident when the characters speak to each other
in private or when they are discussing deeply personal issues. This shift in
language helps to highlight the characters’ relationships to their cultural
roots, as well as the emotional depth that English alone cannot fully convey.
For example, in a
moment of great emotional turmoil, the mother might revert to Kannada or Hindi
to express her grief or frustration in a way that English, with its more formal
tone, cannot capture. This juxtaposition between English and the regional
languages serves to underscore the tension between modernity and tradition, as
well as the struggle of characters to reconcile their identities in a rapidly
changing social environment.
6. Thematic
Implications of Language Use
Dattani’s use of
English in Tara is deeply intertwined with the themes of gender,
privilege, and social injustice. The play is fundamentally concerned with the
consequences of gender discrimination, the emotional and psychological trauma
it inflicts on individuals, and the larger societal structures that sustain it.
Language, in this context, becomes a vehicle for expressing not just personal
emotions but also broader social concerns.
The homogenization
of English among the upper-middle-class characters could be seen as a metaphor
for the way in which social class and education play a role in shaping
individual identity and perception. However, Dattani’s careful differentiation
between characters’ emotional experiences, despite their linguistic similarity,
highlights the ways in which language, while a tool for communication, is also
shaped by individual experience and societal pressure.
Conclusion
In conclusion,
while Mahesh Dattani’s use of English in Tara may appear homogenized
at first glance, particularly with regard to the upper-middle-class characters,
a deeper analysis reveals that his use of language is both subtle and
sophisticated. The characters in Tara do not speak identical versions
of “convent English”; rather, they speak English that reflects their social
class, regional influences, and psychological states. Dattani’s choice of
language serves as a lens through which the themes of the play—gender
discrimination, societal expectation, and personal struggle—are brought into
focus. Far from being a mere vehicle of communication, English in Tara
acts as both a symbol of privilege and a means of navigating complex emotional
and social landscapes. The nuanced way in which Dattani uses English in the
play, alongside moments of code-switching to regional languages, underscores
the cultural diversity of India and the emotional depth of the characters.
Therefore, while English may be a common medium, the emotional and thematic
weight carried by the characters’ speech is anything but homogenized.
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