Girish Karnad cut across linguistic and regional boundaries to become a nationally revered figure
Firstpost“I want to climb up to the tallest tree in the world and call out to my people, ‘Come, my people, I’m waiting for you. I’m waiting to embrace you all!” These lines are from Girish Karnad’s play Tughlaq, a fictionalised version of the life of Muhammad bin Tughlaq, the so-called ‘wise fool’ — in Karnad’s retelling, Tughlaq comes across as a deeply complex figure, a tyrant who also happened to be thoughtful and sensitive, someone whose supposedly hare-brained decisions had a grain of logic, however misplaced or out-of-context it might be. Much like Euegene O’Neill adapted Aeschylus’s Greek tragedies into one dense, thrilling play, packed to the gills with difficult questions — Mourning Becomes Electra — Karnad spins the Yayati-Pooru-Sharmistha-Devayani myth into a compelling, intense, wholly contemporary story. Karnad, of course, later cut across linguistic and regional boundaries to become a nationally revered figure. In the 2007 version, Caine returns, but this time he plays the old, fading writer, with Jude Law as his wife’s lover — circularity and rhyme, just the way history likes it.