Page 254 - DENG503_INDIAN_WRITINGS_IN_LITERATURE

Indian Writings in Literature

Notes a human being who believes, and tolerates, and respects what other human being behave that is
the strongest fragrance in the would! [Act Three] But this final solution may remain just another
possibility.
The very last scene, after bobby and Javed leave the Gandhi home, changed for ever, is still a bleak
one. Ramnik finally tells his mother of the crime committed by his father - how they burnt the
shop in the name of communal hatred. Because they wanted the shop. And when Hardika asks if
the boys will come back - Ramnik's answer is what remains with us - "if you call them they will
come. But then again - if it's too late - they may not." [Act Three] As John McRae in 'An introduction
to the plays of Mahesh Dattani' puts it "This is theatre at the cutting edge. Holding the mirror up
to the secretary it depicts, showing… the form and pressure of time". (Final Solution and other
plays).
This play deals with anti-fanaticism concerns - not only religious fanaticism but fanaticism in all
walks of life. And appropriately enough, Dattani demonsters this by showing the various ways in
which most people. Overtly or coverthy are party to acts of fanaticism and are responsible for a
good deal of the conflicts that exist written society - be it at the macrocosmic level of the nation -
state or even the microcosmic one of the family. Thus we have the fanaticism of the Hindus and
the Muslims in Amargaon clashing during the 'Rath yatra' the fanaticism of daksna in law that
present her friendship with Zarine from progressing (Dattani shatters the of toned with that music
friend the barriers between people).
The fanaticism of the older Daksha lie Hardika, Which is a rice chatting response to her Confinement,
The fanaticism of Hardika daughter in law Arena who is the archetypal pious Hindu women and
of course, the fanaticism of Javed that people him into journing forces with those who talked
always talked about the mother land and fighting to save our faith" contrasted with such fanaticism
is the doubtful pacifism of Bobby, the shake liberalism Ramnik and the escapism of Smita Arising
from share evidence. Such fanaticism is not only self-limiting for each of these individual but so
also the primary cause for the barriers that are constructed between them and the longer would in
this context if Daksha, Hardika Writing in her diary (Even though free fly) can diary seen as
attempt to can front and negotiable with the reality faced by her, The play final solution can be
meta thematically to imply the next- not even this dramatic script by Dattani - can preside any
final solution/s to the audience. Prophase the solution lie of each with us - we all need to come to
tern with our people preludes and find of our solution and Bobby did. The play can only serve an
as awaking. In making the mob/ chairs when that does not have a singular identity but an easily
inter changeable. One who you are depend on which face you put your Hindu Make or your
Muslim mark, In making Daksha and Hardika merge into each other. Dattani Seek to show that
through from may change; paramecia, hatred and fear prevail. All through play the mob/ chairs
Remains on stage charted on still lie sad portion. The fires who compose their mob on chairs wear
a make which is atop a stick held before them. There are five Hindu and five Muslim makes the
play right feels, ideally they should be wearing black. They do not belong to any religion but
become Hindu or Muslim depending upon the make they done. The symbolic velvets the makes,
the sticks, the black cloth, are what blamers refers to as the 'paraphernalia of ritual as slogans
songs expire guests faster felling common identity sympathy written and ritual activity, such
peripheries 'acquires' a sentimental liking the common feeling about the movement, there uses
serves as a constant solving and reinforcement about these mutual feeling 'such paraphernalia
gerents a serves of self importance and provide one of the mean by which people who parts
apache in such a dramas see themselves an playing and certain role more then the defamation of
rules and emotional epode.
Thus in act I when the chars. Wearing their Hindu make say that "the procession had proud
through that lines/ Every year/ for forty year? and that "for forty years our chariot has moved
through their mohallas". The procession and the chariot bearing the idols of the Gods are the

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