Ghashiram Kotwāl
Ghashiram Kotwāl
Vijay Tendulkar
Vijay Dhondopant Tendulkar (6 January 1928 – 19 May 2008) was a
leading Indian playwright, movie and television writer, literary
essayist, political journalist, and social commentator primarily in Marāthi.
He is best known for his plays Shantata! Court Chalu Aahe
(1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972).
Many of Tendulkar's plays derived inspiration from real-life incidents or
social upheavals, which provides clear light on harsh realities. He has
provided guidance to students studying "play writing" in US
universities. For over five decades Tendulkar had been a highly influential
dramatist and theatre personality in Mahārāshtra.
Vijay Dhondopant Tendulkar was born on 6 January 1928 in
Girgaon, Mumbai, and Maharashtra, where his father held a clerical
job and ran a small publishing business. The literary environment at home
prompted young Vijay to take up writing. He wrote his first story at age six.
He grew up watching western plays and felt inspired to write
plays himself. At age eleven, he wrote, directed, and acted in his first play.
At age 14, he participated in the 1942 Indian freedom
movement, leaving his studies. The latter alienated him from his
family and friends. Writing then became his outlet, though most of his early
writings were of a personal nature, and not intended for publication. During
this period, he participated in the activities of Nabajiban Sanghatana, a
splinter communist group. He said that he liked sense of sacrifice and
discipline of the communists.
Tendulkar began his career writing for newspapers. He had
already written a play, Āmcyāvar Koṇ Preṃ Karṇār (आम्च्यावऱ कोण प्रेम करणार who will Love us?), and he wrote the
play, Gṛhastha (The Householder), in his early 20s. The latter
did not receive much recognition from the audience, and he vowed never to write
again.
Breaking the vow, in 1956 he wrote Śrīmant, which
established him as a good writer. Śrīmant jolted the
conservative audience of the times with its radical storyline, wherein an
unmarried young woman decides to keep her unborn child while her rich father
tries to "buy" her a husband in an attempt to save his social
prestige.
Tendulkar's early struggle for survival and living for some
time in tenements ("cāḷ/chawls") in Mumbai provided
him first-hand experience about the life of urban lower middle class. He thus
brought new authenticity to their depiction in Marathi theatre. Tendulkar's
writings rapidly changed the storyline of modern Marathi theatre in the 1950s
and the 60s, with experimental presentations by theatre groups like Rangayan.
Actors in these theatre groups like Shriram Lagoo, Mohan Agashe,
and Sulabha Deshpande brought new authenticity and power to
Tendulkar's stories while introducing new sensibilities in Marathi theatre.
Tendulkar wrote the play Gidhāḍe (The
Vultures) in 1961, but it was not produced until 1970. The play was set in a
morally collapsed family structure and explored the theme of violence. In his
following creations, Tendulkar explored violence in its various forms:
domestic, sexual, communal, and political. Thus, Gidhāḍe proved
to be a turning point in Tendulkar's writings with regard to establishment of
his own unique writing style.
Based on a 1956 short story, Die Panne ("Traps")
by Friedrich Dürrenmatt, Tendulkar wrote the play, Śāntatā! Court
Cālū Āhe ("Silence! The Court Is in Session"). It was
presented on the stage for the first time in 1967 and proved as one of his
finest works. Satyadev Dubey presented it in movie form in 1971 with
Tendulkar's collaboration as the screenplay writer.
Introduction to Play
Vijay Dhondo Tendulkar (b. 1928) is an eminent Marathi
playwright, screenplay writer, essayist, and journalist. He first came into
prominence in the 1950s and 60s with one-act plays like Ratra (1957), Ajagar
anigandharva (1966) and Bhekad (1969). But his signature style began to develop
clearly with his association with the experimental theatre movement, which was
part of the advent of modernism in Marathi literature. With modernism came the
break from the traditional musical drama, the plays with mythological and folk
ingredients and the imitations of Shakespeare, and a growing concern with
social and political themes. This also meant the influence of playwrights like
Ibsen and Shaw, Ionesco, Pirandello, Strindberg and Brecht, and a strong
emphasis on formal and thematic experimentation. Tendulkar’s close association
with the experimental theatre movement began with the plays he wrote for
amateur groups like Rangayan, Bharatiya Vidya Bhavan Kendra and Avishkar. The
plays that he wrote between 1955 and 1964 were keen explorations of middle
class life and the isolation and alienation of individuals from the world
around them, and include Manus navache bet (An Island called Man)(1955),
Madhlya Bhinti ( The Walls Between) (1958), Chimanicha ghar hota menacha (Nest
of Wax) (1958), Mee jinklo Mee harlo (I Won, I Lost) (1963), Kavlanchi Shala
(School for Crows)(1963). His 1968 play, Shantata, court chalu ahe ( Silence! The
Court is in Session ) brought him national recognition and a number of awards
followed, among them the most prominent being the Kamaladevi Chattopadhyay
Award and the Sangeet Natak Akademi Award in 1971.
Ghashiram Kotwāl (English translation by Jayant Karve and
Eleanor Zelliot) was first performed in the original Marathi on December 16,
1972, by the Progressive Dramatic Association at the Bharat Natya Mandir in
Pune. It was directed by Jabbar Patel and the role of Ghashiram was played by
Ramesh Tilekar while Mohan Agashe played Nana Phadnavis. After nineteen
performances, however, the President of the Progressive Dramatic Association
banned the play on the grounds that it was anti-Brahman and gave an inaccurate
picture of the historical figure of Nana Phadnavis. Most of the actors resigned
from the Association and formed Theatre Academy on March 27, 1973. The
production was revived on January 11, 1974. Since then, popular and
controversial, and always contemporary, the play has been produced in many
Indian languages, and Theatre Academy has also performed it in several European
countries. The NSD production, directed by Rajinder Nath for Nandikar’s 17th
National Theatre Festival, like Jabbar Patel’s, stays true to the play’s
extensive use of traditional devices of the Marathi folk theatre.
Histoncol context: The play is set in Poona during the last years
of the rule of the Peshwa Baji Rao n and his Chancellor Nana Phadnavis. Once when he makes Ghashiram the kotwal, and again at the end
when he throws Ghashiram to the mob. One of the reasons stated for the banning
of the play by the President of the Progressive Theatre Association was that
the audience would not take kindly to the legendary figure of Nana being shown
as debauched and evil, & Ghashiram, as Tendulkar himself tells us, was a
minor figure of that period and therefore offers great scope to the playwright
to flesh him out to suit the play’s representation of socio-political issues of
our time.
The Brahmans were the most privileged of the various classes
in Poona during this period, since they were also the class in power. While the
government formulated a strict code of behaviour for them it also assured that
they enjoyed the highest social status. They were granted a great deal of
license and this is probably one of the incidental issues that attracted Tendulkar’s,
allowing him to show that decadence could very well be the result of undeserved
or excessive privilege. In the play, an interesting aspect of their preeminence
is seen, as there is almost total absence of the other castes. On being
questioned about the historicity of the play, Tendulkar’s very firmly states:
This is not a historical play. It is a story, in prose, verse, music and dance
set in a historical era. Ghashiram are creations of socio-political forces
which know no barriers of time and place. Although based on a historical
legend, I have no intention of commentary on the morals, or lack of them, of
the Peshwa, Nana Phadnavis, or Ghashiram.’ On being asked whether the play
sought to expose Brahman corruption and pretensions, he replied, ‘The decadence
of the class in power (the Brahmans, incidentally, during the period which I
had to depict) also was incidental, though not accidental.’
Since Ghashiram Kotwal continues to be a popular play, Tendulkar
has commented on it in various contexts. At one point he says, ‘Ghashiram
started with a theme, then came the specific ‘story’ or incident which was
historical.’ Also pertinent to the theme of the play is his statement: ‘I had
in mind the emergence, the growth, and the inevitable end of the Ghashiram;
also those who create, and help Ghashiram to grow; and the irony of stoning to
death a person pretending that it is the end of Ghashiram.’ Written and performed
in the years leading up to the Emergency, which is considered to be the darkest
period in the history of independent India, when the basic freedoms - to act,
speak and think - became casualties, the play’s depiction of absolute authority
unleashed on the people must now appear to have been prophetic. When we speak
of historical context, therefore, it is as necessary to be aware of the play’s
actual historical background, as it is important to recall when it was written
and performed, and to be sensitive to the context in which it comes to us with
each new performance.
Theme
Since the play is set in a particular historical context, is
possible to locate its themes in this context. The idea that would strike a
reader immediately is that of a dominant class, the Brahmans, enjoying many
privileges but also revealed as taking advantage of their position and their
proximity to the ruler. We see them breaking class codes and indulging
themselves Nana s participation in their revels in Bavannakhani suggests that
they have the protection of the ruler and despite their violations of the
Brahman The portraits of Nana and Ghashiram help develop the idea of authority
or power - Nana used to having it and therefore relaxed m exercising it over
people below him, Ghashiram newly powerful, and therefore carried away by it
and engaging in violent and brutal demonstrations. However it becomes apparent
from a comparison of these two representations of the theme of authonty that at
bottom they do not differ significantly from each other.
Power of different kinds is seen in many of Tendulkar’s Pays
and it is commonly acknowledged that Ghashiram Kotwāl is about the power of the
state and its institutions or its various organs. But it is his probing and
investigative approach to its operation in human relationships that is most
striking - how within various institutionalized power structures individuals
use one another. Both Nana and Ghashiram as authority figures show a remarkable
callousness about people, caring little about the effects of their actions or
their decisions on others. They display an equal degree of selfishness and a
similar willingness to use people to reach their own goals and Tendulkar’s
ethical concern is most prominent here - in his understanding of one’s relationship
to others who are different from oneself, belonging to a lower economic or
social status or the opposite sex.
In the context of our times, in our increasingly polarized
and violent societies, it may be interesting to note how Tendulkar treats the
ideas of insularity and violence. The city of Poona is regarded almost as
personal property by the Brahmans. They close ranks against the outsider,
making it difficult for him to earn a living, humiliating him and banishing him
from the city. It is only in the aftermath of such treatment that the worst
elements of Ghashiram’s character come to the fore and the brutal Ghashiram
Kotwal is bom.
On violence, Tendulkar has admitted in A Testament, written
in 1992 : ‘I feel fascinated by the violent exploiter-exploited relationship
and obsessively delve deep into it instead of taking a position against it.’ In
Ghashiram Kotwal, he explores how and why violence erupts. We are shown the
violent treatment meted out to the outsider, the Brahman from Kanauj, and the
threat of violence behind the permit-system in Ghashiram’s rule stunning the
people into a state of apathy. We see it in the brutal ordeal conducted to
establish the truth and, finally, we are given an example of mob violence - mob
anger satisfied only with bloodshed. Behind these varieties of violence is the
authority and sanction of the state. (TENDULKAR)
A GAME OF POWER IN TENDULKAR’S GHASHIRAM KOTWAL
Since immemorial times, human beings have been striving to
become powerful and superior to others. They always urge to be more powerful
than others hierarchizing the divisions. This has made the social pyramidal
where the few at the top usurp the great power of the masses. It has become
possible and usual because the people give away their power by taking the
hierarchized society for granted. As the higher rungs of the hierarchized
society are endowed with greater power in addition to the greater privileges,
people struggle to scramble up the ladder of power. In this journey, some
people go up while some go down. This sort of striving for power is recurrent
in Vijay Tendulkar’s Ghashiram Kotwāl that explores the game of power in
politics and human relations.
Ghashiram Kotwal, written against the backdrop of Maratha
history, is about the discourse of power, absolute power, and “a powerful
satire on the power-politics.”5 It explores how men in power give rise to
certain fascist ideologies to fulfill their desires and later destroy them when
they become useless. Ghashiram Savaldas is a poor Brahman from Kanauj. He comes
to Poona for livelihood along with his wife and daughter. He becomes a servant
in courtesan Gulabi’s house when he doesn’t get no noble employment that suits
him and his caste. In addition to the housework that he does for Gulabi, he
also sings and dances when people come to enjoy her erotic songs and dance.
Once, Nana Phadnavis, the late eighteenth century Marathi Machiavelli, visits
Gulabi and tries to dance with her. But suddenly he slips and his ankle
sprains. Then, Ghashiram holds Nana’s hurt foot in his hands and says that he
has fallen grace in his hands that makes everyone envy of him. Nana feels
flattened and pleased and offers him a necklace of pearls and leaves. Gulabi
snatches the necklace from him and sends him out with the help of her thugs.
Ghashiram feels hurt and insulted. Thus, Gulabi who once rescues persecutes him
later. He, being in the position of a victim, remains helpless and powerless.
When Ghashiram thrown out of the Poona he searches for the best
way to get enough power to persecute the people of Poona and also to take
vengeance against the people who tortured him. He disguises himself as a
servant and appears with Gauri, a girl, none but his own daughter. He sends her
to Nana to quench the latter’s lust. Nana, impressed by the beauty of Gauri,
makes advances towards her. Taking this as an advantage, Ghashiram seeks power
through his daughter. He says, “Now he’s in my hands …. I’ve given my beloved
daughter in the jaws of the wolf” Nana enjoying the erotic pleasure with Gauri
issues the order making Ghashiram, the Kotwal of Poona.
The moment Ghashiram secures his trump card of power, he
starts victimizing the offenders who have humiliated him before and persecutes
the enemies of Nana. He feels that he is superior to his Victims (the people of
Poona). He calls the people of Poona as pigs. The Brahmans of Poona, once
enjoyed the erotic pleasure with courtesans, start suffering. Even the Brahman
wives who enjoyed the company of Maratha lovers and courtesans like Gulabi also
see the wrath of Ghashiram. An order is passed that everybody should take
permission from Ghashiram to do anything out of routine.
Ghashiram once sold his daughter for power, now accepts her
death only to continue exercising his power. This is a perfect example of
Ghashiram’s crude self-annihilation.
Ghashiram starts acting out his fury caused by the death of
Gauri. He starts murdering people. As such the people of Poona are greatly
frightened. Prisons are overcrowded. Some people die of suffocation. Poona
Brahmins fed up with Ghashiram’s wickedness demand Nana to issue an order to
‘behead Ghashiram Kotwal.’ Without much hesitation, Nana gives them the order
and tells them to do with him whatever they like. He says, “Use a thorn to take
out a thorn. That’s great. The disease has been stopped. Anyway, there was no
use for him anymore”
The angry Brahman mob surround Ghashiram, beat him, shave his
head, paint saffron on it, ride him on a camel, tie him to the leg of an
elephant, tie his hands behind his back, and pelts stones at him violently to
death. Ghashiram, overcome by remorse, shouts at them to beat, to hit as he
wasted the life of his little daughter. He, further says that, must be punished
for the death of his daughter. In the end, he succumbs to injuries and dies.
Ghashiram’s death reveals “the characteristic violence that is a concomitant of
all desire for power.”7 The play ends with the epilogue of Nana in which he
says that ‘a threat to the great city of Poona has ended today with the death
of Ghashiram who plagued all the people.’ (G.Sailaja)
Woeful Women: A Feminist Reading of Vijay Tendulkar’s
Ghashiram Kotwal
Tendulkar is a playwright who is concerned with the social
issues. He is not a feminist but his plays in general shows the atrocities and
cruelties perpetrated by the male characters. Through his large number of plays
Tendulkar has shown that male hegemonic social order has not only silenced the
ignorant women but also the educated and the economically independent women.
Simone de Beauvoir’s words are fully applicable in case of Tendulkar’s women
characters. “They have gained only what has been willingly to grant; they have
taken nothing, they have only received.”(Beauvoir, xv) Leela Benare and Mrs
Kshikar, Kamala and Sarita, Laxmi and Champa, Gulabi and Gauri – all of them
are victims of socio-political patriarchal hegemony in one way or the other. As
an iconoclast in Indian drama, his plays deal with not only on the tabooed
topics like sex but also depict the violence on women by the patriarchal codes,
rituals and habits.
The play begins with the first arrival of Ghashiram Savaldas,
a Brahman from Kanauj and his ill-treatment by the Poona Brahmans, the elite
class who falsely accused him of theft. This caused anger in Ghashiram and
swears to come back to Poona and take revenge on the city for making him a
Shudra, a criminal. Ghashiram is in search of an opportunity and it comes in
the form of Nana Phadnavis’s demand of his daughter, Lalitha Gauri. Ghashiram
without thinking gives his daughter and compelled Nana to appoint him as the
kotwal1 the city. And then Ghashiram’s reign of terror begins making the city a
hell. These include allowing people to work exclusively under permit, falsely accusing
a Brahman of theft, humiliation of a respectable woman as being a prostitute
and inhumane punishments like pulling out of nails from fingers and chopping of
heads. While Ghashiram is enjoying his reign of terror on the city and its
Brahmans, Nana is relishing with the youth and charm of his luscious daughter.
However, Ghashiram wakes up lately from his addiction of power when he learns
that his daughter is dead, and Nana is marrying for the seventh time.
Women are the marginalized characters in the play. Very
little space is given to them in the form of dialogue. Ghashiram, Nana and the
Brahmans take up whole of the play. Lalitha Gauri hardly gets a chance to
speak. She speaks a few words in her first encounter with Nana when he tries to
touch her in front of Ganapati. After that she is mute amidst her loss of
youth, honour, and when she finally loses her life with a baby in her womb.
Ghashiram’s wife is absent from the action. Ananya observes the absence of the
marginalized, “Gauri has no identity of her own, and she merely plays out
Nana’s imagination. At the moment where Ghashiram is digging out her body, she
has no physical presence on stage, for Nana’s illusions have moved past her.”
(Feminism In India) The other woman speaks in the play is Gulabi. She tries to
show some authority over Nana when she calls her men to beat Ghashiram and
snatches the necklace given to him by Nana. But her status as a public woman, a
plaything for men’s pleasure reveals the hollowness of her power and authority.
Chandra, the mid-wife appears for a moment and she is not given a full sentence
to complete. She merely utters, “There- we buried her there…”
In Ghashiram Kotwal, the playwright has made the women
characters insignificant throughout the play except as sensual and sexual
objects. All the women characters in the play are marginalized and victimized
by patriarchal socio-political forces. They are portrayed as the weaker sex.
This is clearly indicated in the use of words. Ghashiram’s assurance of giving
his daughter on condition reflects this- “If the hunter is ready, the prey will
be found.”(49) Again reference of Nana as ‘wolf’ (51), ‘beast’ (51), ‘devil’
(74), ‘monster’ (74)and Gauri as ‘deer’ (48) and ‘peach’ (52) reveals that she
is weak, vulnerable and fragile in his power. Nana’s description of Gauri- ‘How
beautifully formed! What a lovely figure!’ (49) and ‘What a bosom! Buds just
blossoming… we’ll squeeze them like this! (50) indicate she is nothing but a
sex-object in hands of men of power like Nana.
A close reading of Tendulkar’s Ghashiram Kotwal reveals the
fact that all the women characters are voiceless and powerless in the
patriarchal hegemony. The men are the main characters who hold power and
authority and take decisions at their whims. In this play, Lalitha Gauri, a
young and innocent girl is commoditized between the desires of a power-hungry
father, Ghashiram and a luscious ruler, Nana Phadnavis .The father barters his
daughter with Nana for the kotwali3 of Poona to fulfill his personal vendetta
to tyrannize the Brahmans against his humiliation while Nana uses Gauri to
satiate his perverted lust. Nandana Dutta in her ‘Introduction’ to Ghashiram
Kotwal remarks, “They display an equal degree of selfishness and a similar
willingness to use people to reach their own goals and Tendulkar’s ethical
concern is most prominent here – in his understanding of one’s relationship to
others who are different from oneself, belonging to a lower economic or social
status or opposite sex.”
Gayatri Chakravorty Spivak says, “The ideological
construction of gender keeps the male dominant” (Spivak, 32) and this ideology
is prevalent throughout the play. In Poona the Brahmans enjoy the highest
social order and power. They belong to the ‘Centre’- the symbol of power. The
postcolonial view, the idea of powerful, dominant West with masculinity and
submissive, weak and obedient East with femininity is clearly manifested. Women
are considered ‘Other’- simply taken to be granted. They have no power and
social status except the traditionally prescribed roles-wife or sex-partner.
Nana Phadnavis symbolizes the patriarchal hegemony that keeps women
subordinated in all places and situations. Lalitha has no choice but to be
bartered as a sex toy to Nana. Neither she nor her mother speaks any words
against her father’s opportunistic decision. They are colonized - they are
conditioned not to think or take decisions as if they haven’t any intellectual
ability.
In this play women are dominated, exploited and inferiorized
by patriarchal oppression and repression. The women characters are denied of
their personal and intellectual abilities and capabilities. It is the male
characters who take decisions on behalf of them. Women are treated in any way
by the men as if they are the owners. The fate of Gauri lies in the hands of
two males. Nana wants to relish the youth and beauty of Gauri and Ghashiram
wants to climb the power ladder. And Gauri fulfills the immoral aspirations of
both of them. She is a colonized woman- voiceless and powerless. Her silent
acceptance of her father’s dictates reveals the fact that in patriarchal
society a woman has no choice at all except accepting male dominion. The
Brahman wives are not happy with their lecherous husbands, but they are silent
in solitary confinement. Nana’s wives have ‘become’ women- voiceless and
powerless. They have nothing to do with Nana’s decision whether his playing
with an innocent girl kills her or in his decision of marrying another girl.
They are just ready to accept whatever he does or decides without any comment.
Manipulation of Power
In patriarchal system, males manipulate power in their own
way to satisfy their immoral wants. During the puja4 ceremony of Ganapati, Nana
comes but he is not listening to the kirtan5 rather she is looking
‘unblinkingly at a pretty girl’(48). When he comes close and touches her, she
pulls back his hand and reminds him that “He (Ganapati) will see.” (48) But
lustful Nana tries to convince her using religion as a weapon to hunt his prey
and says‘ he won’t say anything’ (48) as Ganapati has two wives. When she
finally escapes from his hand, he leaves no opportunity to slip finding the
‘Erect! Young! Tender!’(49) Girl. To have ‘the prey’ in his hand Nana fulfills
Ghashiram’s demand for the kotwali in exchange for his daughter. Nana enjoys
his perverted sexuality with her and throws to die when she is pregnant. She
dies but even a death ceremony is not provided to her. Ghashiram is angry with
Nana for killing his daughter but he is soothed by Nana’s philosophical speech.
Then ‘Sab Theek Hain” - everything is fine, and Gauri is lost from both of
their imagination.
Nana’s long monologue is a defense on his behalf – “This
time, there are two bullets in this gun. With the first one, we’ll fell your
luscious daughter. But with the second we will make the city of Poona dance.”
(55)As the women characters are weaker, no space is given to them to decide.
They are just puppets in the hands of men who make them dance and crush their
body and roast their individuality like youngling chicks.
In Ghashiram Kotwal, all the women characters are colonized
by dominant masculine hegemony. Men are the masters. They have social,
political and military power. They belong to the elite class. It is their
natural right to rule, control and exploit the women- the ‘other’- the servant
class. They can do anything with them on their whims. The women are the
resources, and their exploitation serves multiple purposes. The exploitation of
Gauri gives Ghashiram power to rule ‘Gauri dances, Nana dances, and Ghashiram’s
reign has come’ (58) and pleasure of sex to Nana. The Brahmans make their wives
suffer ‘solitary confinement’ while they lose in relishing the prostitutes of
Bavannakhani. Ghashiram uses his own daughter to become a kotwal and he
humiliates a respectable woman as a prostitute taking her out from her home. He
chokes Chandra, the midwife to death though he knows the real culprit is Nana.
Nana has several wives of different ages but again Nana’s acquisition of ‘a
tender blossoming bride’ (70) with a deal of hundred gold coins and big
portions of land indicates that women are mere resources and materials that
serve only to satisfy the male ego. Here the institution of marriage is used as
a tool to subjugate the socio-economically poor women.
Conclusion
In conclusion it can
be said that Vijay Tendulkar in the play Ghashiram Kotwal has dealt with the
harsh realities of the contemporary society. The play from a feminist
perspective makes it clear that in a patriarchal society, women are considered
almost insignificant except as sex-objects. Women are used, abused, sold,
humiliated and suffocated by the amoral ideologies by patriarchal hegemony.
They have no pleasures in life but are used as objects of pleasure for the men.
Happiness is not even an occasional episode in their lives. They have no voice
and choice of their own. The male dominated society is indifferent to their
role of taking decisions. They are just conditioned to behave at the wink of a
finger as prescribed by the patriarchal hegemony. The play is a brilliant
political satire written against the emergence of the Shiv Sena in Maharashtra,
but re-reading and reinterpretation of the text makes it a chronicler of male
dominance and violence on women in contemporary India. (Roy)
Links for further reading
Works Cited
G.Sailaja, Dr.K.Gopal Reddy, Dr. V. B. Chitra.
"A GAME OF POWER IN TENDULKAR’S GHASHIRAM KOTWAL." VEDA’S JOURNAL
OF ENGLISH LANGUAGE AND LITERATURE (JOELL) 5.1 (2018).
Roy, Trailakya.
"Woeful Women: A Feminist Reading of Vijay Tendulkar’s." Language
in India 18:8 (2018).
TENDULKAR, VIJAY. Ghasiram
Kotwal . Oxford University Press, 2004.
Comments
Post a Comment