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Bravely F The Queen
Bravely F The Queen
Aparna Singh
Queen.1 The title draws our attention with its reference to a valorous queen. Further re-
evaluation reveals the inescapable influence of the poem ‘Jhansi ki Rani’ by Subhadra
Kumari Chauhan, a well-known hindi poet. The title is a literal translation of the first line
from the poem which reads,’ ... khoob ladi mardani who toh Jhansi wali Rani thi’. The
title, reminiscent of the poem, significantly drops the epithet ‘manly’.2 The reason for this
delineates the compromised private lives of two sisters in stark contrast to the callous
According to Derrida meaning lies not in ‘real presence’, 3 but in the differential
structures of speech. Derrida argues that the intellectual tradition of the West has been
characterized not only by logocentrism but also phonocentrism, that is, the subordination
of the written word to living speech. This was, he points out, emphasized particularly by
Plato (Phaedrus) who regarded writing as a kind of alienation from speech and prey to
abuse and misunderstanding, in that meaning has been divorced from its original source.
and the ‘presence’ in it. He claims that these opposing good and bad aspects are
articulated in the double meaning of the word ‘Pharmakon’ used by Plato: ‘poison’ as
well as ‘cure’. Derrida argues that if we examine a text with this in mind we shall
discover this and similar oppositions, as well as other problems and tensions. ‘A text is
not a text unless it hides from the first comer, from the first glance, the law of its
composition and the rules of its game. A text remains, moreover, forever imperceptible.
Its laws and rules are not, however, harbored in the inaccessibility of a secret; it is simply
that they can never be booked, in the present, into anything that could rigorously be
called a perception.’4
In Bravely Fought the Queen Dattani uses onstage absence not in opposition to presence,
but as an inevitable pointer to it. The absence of characters from onstage action provides
stimulus for the events that occur. The non perceivable causes represented by the absent
characters produce the effects seen by the audience. Significantly, the absence of men
from the first act and the absence of women from the second act integrated through the
split level stage blends the implicit and the explicit levels of discourses. The telephonic
conversations foreground the viability of heard speech over physical presence on stage.
In the first act, the deferred presence/absence of Baa, presented through the
overwhelming sound of the bell tampers with the presence of the three women characters,
Dolly, Alka and Lalitha. Baa precariously occupies the liminal space between presence
and absence enforcing invisible matriarchal imperatives on Dolly and Alka. The sound of
the bell ruptures the possibility of a harmonious relationship between the three women.
unhindered, unified presence on stage. Lalitha acts as a catalyst for the two sisters to
unleash their guarded secrets. Lalitha’s presence has been cleverly deployed as a platform
to play out their guarded secrets and fantasies. Sridhar’s wife, Lalitha fills her vacant
existence with her husband’s work, writing poetry, making small talk and neurotically
fussing over her bonsai. As the plot unfolds the absent characters erupt as ghosts from the
past. Praful, the absent manipulator of events, represents violent patriarchal hegemony.
The non-presence of Praful does not mitigate the violent recapitulation of events which
Praful’s absence allows the women and the men to speak uninhibitedly. His absence
promises presence deferred without certainty. It is hard to imagine Alka’s rancor without
imaginatively constructing Praful’s relentless act of violence against her. The violent and
insensitive subjugation of Alka when she returns home with another boy portrays Praful’s
need for self-preservation through complete denial of Alka’s dependence on any man
other than that chosen by him. The threat of burning her face implies erasure of a
(Dolly gives her a look of warning.) I didn’t tell you. That time when you
came home to…….Nitin and Praful were talking. I came home from
school with the neighbour’s son on his scooter instead of walking with
you. I told him to drop me before our street came. He didn’t understand
and dropped me right at our doorstep. Praful saw. He didn’t say a word to
me. He just dragged me into the kitchen. He lit the stove and pushed my
hair. I can still smell my hair on fire. Nitin was right behind us. Watching!
Just… Praful said,’ Don’t you ever look at any man. Ever.’1( BFTQ 31)
Violence operates as a powerful sub-text in the play. Bonsai, a significant symbolic trope,
represents the outcome of violent subversion. The grotesque looking tree is deliberately
acclimatized to its environment and adapts its growth accordingly, even bearing fruit and
Lalitha. You stunt their growth. You keep trimming the roots and bind
….
something happens inside it and…it decides to change its size. All it needs
It is again in the last act when violence re-appears glaringly when Jiten murders the old
oppressiveness found gruesome expression in hitting a pregnant wife resulting in the birth
Dolly (to Lalitha). You want to see her dance? They teach her dance
where she goes! Only they call it physiotherapy. I’ll bring her tomorrow
from her … special school and she will dance for you! Like this…
She demonstrates a spastic’s uncoordinated arm and neck movement with
Tendulkar’s Silence the Court is in Session 5 is a play which treats absence as an integral
structural motif. Absence has been regarded as functional to unravel the inherent
Plays of Tendulkar’:
It is important here to note that these changes become verbalized only in the absence of
Prof Damle. If he were present, the typical backbiting attitude of the self-righteous male
Leela Benare, the protagonist, relives the agonizing details of her past life for which she
is persecuted in a mock trial. She is ensnared in the craftily executed mock trial whereby
she is held responsible for crimes she has not committed. The absence of the male
characters proves that the onus of preserving the so called moral paradigms falls solely on
the women. The maternal uncle, who had used Benare as a fulfillment of his lust and Prof
Damle, who hailed from the seemingly respectable praxis of the academia too had failed
to shoulder the responsibilities of the unborn child conceived out of wed-lock. Both were
the play’s ideological framework. The predicament faced by women in plays like
Silence! The Court is in Session and Bravely Fought the Queen is reminiscent of Ibsen’s
A Doll’s House6where Nora realizes the need to define her identity cutting herself off
from patriarchal codes of conduct. Her absence from the domestic sphere becomes a
necessary precondition to inscribing her presence. The exit which she decisively executes
is structured, ironically, on absence. The absence of a valid social framework for
The first act in Bravely Fought the Queen conforms to the notions of physical presence
integral to the performance-oriented concept of drama. Praful and Daksha transform into
cultural prototypes for the victimizer and the victimized. Alka and Dolly, victims
themselves enact more than just the roles assigned to them. They become surrogate
representatives of the absent characters, Praful and Daksha. Baa in the first act is reduced
to a screaming bell to amplify the voices of those so far unheard and largely silenced.
Praful by default is the absent partner in the homosexual relationship that existed between
him and Nitin. Desire often misplaced becomes one of the major concerns in the play and
Kanhaiya, Praful, the autorickshaw driver with strong black arms, and the prostitute
whom Sridhar uses as an object to vent out his revenge on Jiten, all remain absent,
Like Pinter, Dattani stylises all the most familiar conventions of the stage- the treatment
of the stage setting, personal relationships and language. In his plays these conventions
are heightened, intensified and taken beyond what is normally expected of everyday
events. Structurally Bravely Fought the Queen belies normative stage conventions. The
introduction of the multiple stage levels dissolves the presence/absence dichotomy. The
level which is highlighted incorporates the absence and the imminent presence of the
other such symbols by its capacity to offer a multifarious complex of meanings. The body
signifies through both its appearance and its actions. Absence of the characters can be
surrogate representation. In Bravely Fought the Queen some of the characters exist in a
past which seems in discord with the present and can be re-created only through vague
replication. Such characters in spite of remaining absent, form a crucial connect with the
audience invoking history, and hence, a relevant cultural context. The histories of women
like Jhansi ki Rani and Naina Devi enable the reinstatement of interest in these
characters. They offer potent redemptive opportunities in the present where women have
either been victims of prejudice or punishment or have been denied opportunity to speak.
Alka. I would like to come dressed like that! Dolly, can I come as a queen
Alka. Oh good. You make a tin plate armour for me. And a sword. A
cardboard sword, of course. And I will move it and swish it about, like
The reference to Naina Devi’s royal lineage, her ability to transcend gender barriers,
social taboos and emerge as a great thumri singer reflects on the sorry plight of the two
sisters who have little at their disposal except vain discussions. Both these idealized
women offer inchoate possibilities of fulfillment. The references transport the two sisters
to a state of surrealistic rapture evident in their mock mimicry of the ‘Rani of Jhansi’ for
the masked ball. The masked ball symbolically encapsulates the theme of camouflage
Absence of the old beggar woman approximates to a tragic presence in the final act as she
is mercilessly run over again and again by Jiten. She shuttles between visibility and non-
visibility. In the first act her mitigated presence becomes available to the audience
Dolly. That wretched woman is back. Where’s that watchman? She sneaks
….
She keeps shuttling between my house and Alka’s. Very clever. She
The undesired presence of the old beggar woman is shrouded in obscurity and her death
in Jiten’s unexplained misdemeanor. Her death, however, reinforces her presence with
characters. Her low economic and social status deprives her of agency. She embodies
muted vulnerability which contests the image of the queens’ (Rani of Jhansi and Naina
Devi) royal background. Dattani here draws an eclectic range of characters that cut across
class and caste barriers. Dolly and Alka don’t belong to the polarization presented by
royalty and abject penury. Economic independence, however, eludes them. Although
their husbands belong to the business fraternity we cannot ignore the constant threat of
expulsion from home that looms over Alka. Hence, the two sisters and the old woman
The act of murder is a heinous assertion of male supremacy precipitated by the firm-
footed rebuttal from Dolly in the last act: Dolly. No! I will not let you get away so easily!
They were your hands hitting me! Your feet kicking me! It’s in your blood! It’s in your
The final catharsis that she forces Jiten to go through is a way to resolve the knotty affairs
from deep-seated agonies in past. It is his last attempt to show his brazen nonchalance
which has been convulsed by Dolly’s incriminations. Daksha, the incapacitated child is a
emotional turmoil reliving those guilt laden moments he is palpably perturbed. Unnerved,
he heads out running pitilessly over the old woman: Sridhar. He’s running over her! He’s
running the car over a beggar woman! Over and over! ...He’s killed her ! He’s …..he’s
gone!(BFTQ 98)
The act of repetition suggests Jiten’s emphatic efforts to delete all past memories. Killing
an old beggar woman is an easy way out because the regular legal trappings of a murder
can be easily evaded. Moreover, she is an embodiment of his guilt and a source of his
catharsis which centers on the paradox of violence begetting violence and the
objectification of women.
Baa’s husband represents her traumatic past which is construed through her
schizophrenic recapitulations. She becomes the ‘mad woman in the attic’ 7 who has
suffered the loss of agency and hence identity. Gilbert and Gubar analyse images of
female characters in their restricting historical, economic, social and cultural context. 8
Assuming the influence of gender on creativity and on the anxiety of authorship, they
make their classic argument (a hallmark of second-wave feminist criticism) that 19th-
century female writers bridled against misogyny and submerged their rage beneath
orthodox male formulas. As if to raise consciousness they uncover and foreground this
female subtext. Baa’s schizophrenia is the result of denial and emotional deprivation she
has received from her husband. Baa’s breakdown is a breakdown of rationality. The
disembodied images which haunt Baa repeatedly reflect the loss of self she is inching
toward. The dismembered recovery of the past obsessively imaged in her husband’s
display of violence finds a reiteration in the last act where Dolly suffers from similar
Jiten is a prototype of his father’s brusqueness. Jiten’s presence reflects his father’s
absence evident in the vaguely revealing regressions of Baa. Her frenzied re-membering
is symptomatic of the patriarchal domination which continues to torment her even in its
absence. Jiten’s violent subjugation of women is in continuum with his father’s heavy-
Baa. You hit me? I speak only the truth and you hit me? Go on. Hit me
again. The children should see what a demon you are. Aah! Jitu! Nitin!
Are you watching? See your father!(jerks her face as if she’s been
slapped.)No! No! not on the face. I beg you! Hit me but not on….aaaah!
(Covers her face weakly as her screams turns silent and the light on her
Baa is unable to stop this abominable legacy in spite of being a victim and a vehement
opponent herself. Instead of putting an end to this oppression she herself becomes its
bitter reminder: Baa. No! Jitu, hit her on the face but not on the …stop it Jitu! On the
The dead husband is an imperious man with a dark countenance who was against Baa’s
singing inclinations. Having left her ambition to become a singer she is divorced from her
own identity and lives her life vicariously through her children. He ensured that Baa
forsake her career as a singer and confine her interests within home, the well cordoned
private sphere. His darkness is heightened when contrasted with his wife’s fairness. Re-
constructing the father as a dark man may be understood as synonymous with asserting
her relationship with the external world, or the other. Nitin is regarded as beautiful as he
has taken after her and not inherited his father’s looks. She detests the smell of tobacco
which lingers even in his absence. Given in to violence, her husband is the symbol of
Baa. …He has my blood! Don’t kiss him! You will leave tobacco on his
cheek. Don’t spit! Oh, the whole house smells of you! I have married such
a villager! Aah! You slapped me. The men in our family are decent. Wait,
The vivid descent into the past is one of the ways in which life is breathed into the absent
characters. This drive for self-knowledge through the act of looking-back is more than a
ironically becomes its unwitting defendant. Similar dramatic conduits are employed to
configure the image of Dolly and Alka’s mother who is accidently discovered through a
letter from Baa’s cousin in Ahmedabad. The letter contained the whole history of their
family. The visibility of the letter or the written word foregrounds both, the implied
absence of its sender and a social context hitherto cloaked in oblivion. Praful’s deceptions
are revealed not through the delayed presence of the absent characters but through a letter
which reverses the hegemony of the spoken word over the written. The absent mother’s
and Alka:
daughters of a whore!
The play covertly treats catharsis as its principle motif as the two sisters rediscover their
past and renew their bonding. The absence of sisterly love which often borders on one
upmanship and bitter bickering initially, in the first act, is replaced by a deep sense of
mutual understanding by the end of the play. The indifference that we find in Alka’s
behavior can be attributed to the disregard and subjugation she suffers from her husband
and her brother. Dolly is unable to connect with Alka as grounds of communication
scarcely existed between them. With Lalitha as an interloper they can voice their
Nitin. Yes.
82)
Will9. It is a comedy with slight farcical touches but regards patriarchy as an invariable
source of domination even in its absence. The story revolves around a supposedly self-
made industrialist, Hansmukh Mehta with the typical problems of familial expectations;
his languid wife Sonal; his spendthrift son Ajit; and a scheming daughter-in-law Preeti;
and last but hardly the least, his mistress Kiran Jhaveri. The highly dissatisfied
Hansmukh is particularly unhappy with the manner his life has been spent. With no one
virtually eliminating them from his will, something they will discover only after his
death. When he does die, Dattani’s stage directions read thus: The two women start
sobbing. Lights fade out on them. Spotlight picks up Hansmukh, or rather, his ghost. He
stands arms akimbo .And for the first time in the play, he grins from ear to ear.10
Hansmukh Mehta exercises hegemonic power over the rest of his family to perpetuate his
own conception of the self, which, he has in turn, received from his father. The will
becomes the iconic instrument of power and shapes and reshapes the destiny of the
family members after his death. The will becomes an embodiment of his absent
physicality on the stage. The spectral presence of Hansmukh is unable to exercise any
control and hangs himself upside down from the tree. The bonding between his wife and
mistress is a reworking of female camaraderie which asserts itself only in the absence of
What prevents these characters from being fully present? Absence precipitates desire and
suggests imminent presence. In Bravely Fought the Queen the absence of characters does
not defer meaningful interpretation but makes space for further investigation. Baa
a tragic outcome of physical suffering and terror. Presence and absence coalesce to make
the drama an ideological apparatus, a powerful statement on subversive gender roles. The
presence of images offers no more than hallucinations, figures inscribed in the corners of
sleep, hence detached from any sensuous reality.(Madness and Civilization, p 100)
Kanhaiya, the idealized lover encapsulates the dreams and fantasies of women who have
been denied legitimate means of fulfilling their desires. The non-fulfillment of dreams is
absence itself.
___________
quotations have been taken from this text, hereinafter cited as BFTQ, followed by
2. The literal translation of the poem’s title should have been, ‘bravely fought the
manly queen’.
<http://www.philosophos.com/philosophical_connections/profile_130.html
Delhi, 2004.
7. Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer
and Nineteenth Century Literary Imagination, Yale University Press, New Haven,
1979.
8. Gilbert and Gubar examine the works of, among others, Jane Austen, Mary