Myths and legends have an enduring significance for the fundamental human obsessions. Indian drama is flavoured with several elements in which mythology plays an important role. One of the most renowned playwrights of contemporary India, Girish Karnad who has made use of the theatre to explore the culture of Indian past, re-created Hayavadana, a commentary on the problems of human being’s search for completeness and perfection, with his own imaginative calibre deriving it from Kathasaritsagar, an 11th century compendium of Indian legends and drawing the picturesque of Thomas Mann’s story of The Transposed Heads in a modern approach. It revolves around the triangular relation between Padmini, Devdatta and Kapila ending in Padmini’s frustrated search to get the best of both men in one body highlighting the confusion of human identities and the ambiguous nature of human personality. This present paper focuses on how Girish Karnad re-interprets the mythology in his creation rummaging a conflict between modernity and indigenous tradition against the backdrop of mythical history to enunciate the acute crisis of identity, self-discovery and imperfection or and wholeness to reach to the zenith of perfection that is next to impossible reflecting the strength of psychology over the physical one where the human beings strive to obtain perfection in all the aspects throughout their life but they forget the fact that perfection is something that is unachievable. It is concluded that although the ending of the play is not within the orthodoxy of Indian epic texts and Hindu philosophy, it can be seen in the cultural context of an Indian woman of today who seeks to fulfil her needs and aspirations.
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