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.

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.


1. Language in Context

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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