Abstract

This paper focuses on the cultural inheritance and the Subjugation of the oppressed in Mahasweta Devi’s play, Water (Jal), which was translated by Samik Bandyopadhyay. Mahasweta Devi, a Bengali writer, was a committed social activist, dramatist, novelist, short story writer and winner of many prestigious awards for her contribution to the field of literature and cultural studies. She has written several novels and short stories in her native language, almost half of which were later translated. Her works are based on the marginalised and the oppressed, projecting her concern for the downtrodden. In the play, the basic consent was denied for a particular group of people which in turn exploded into a rebellion.The use of characters, plot construction and structure paves way for the exploration of the conflict between the oppressor and the oppressed. This paper also focuses on the myth and the agrarian society of the post-colonial India in regard to the play.

Highlights

  • India, a sub-continent, larger than Europe is the birthplace of many religions with its varied culture

  • Mahasweta Devi depicts such social injustices that happened in post-colonial India in her play, Water

  • An untouchable and other untouchables of the village are not allowed to access water from the public well, when the feudal lords bath their cattle in the well.Santosh Pujari who is defined as the “government’s son-in-law”, has “five big wells and three small ones” (159) of his own for his exclusive use and relishes on relief materials for drought sent e-ISSN: 2582-3574 p-ISSN: 2582-4406

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Summary

Introduction

A sub-continent, larger than Europe is the birthplace of many religions with its varied culture. Though India is known for “Unity in Diversity”, there exist social injustices such as untouchability, feudalism and bonded labour. Five Plays, she asserts, After so many years of independence, I find my people still groaning under hunger, landlessness, indebtedness and bonded labour.

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Conclusion

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