Dattani Bravely Fought the Queen as a feminist play

Mir Hassan

Dattani’s Bravely Fought the Queen as a feminist play

Dattani’s Bravely Fought the Queen as a feminist play

Feminism in Dattani's Play Bravely Fought the Queen | Bravely Fought The Queen: Feminist Play | What is feminism in Bravely Fought the Queen? | Bravely Fought the Queen, a feminist play. | Redefining Feminism in  Dattani's play Bravely Fought the Queen | Theme Of Patriarchy In Bravely Fought The Queen | Gender Identity In Mahesh Dattani's  Bravely Fought The Queen | A Feminist  Approach  to  Bravely Fought The Queen

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In this post, I am going share the answer to ' Dattani’s Bravely Fought the Queen as a Feminist play'. I hope this would be very helpful for the students. Thanks for visiting our website, 

 Bravely Fought the Queen as a feminist play

  The term feminist actually means that which belongs to the feminine sex. In this sense, the term ‘feminist play ‘indicates a play on women or a play in which women are found to have importance. The feminist play gives expression to the under-represented experiences of women in a male-dominated society. It represented women as subjects of their own rights and definite identity.

Bravely Fought the Queen’ by Mahesh Dattani is a thought-provoking domestic tragedy where social issues are foregrounded with much force. In the words of S. Das, the play is "built around the ironic disjuncture between female icons of Indian culture and sad reality  of women's lives .”The dramatist is a foremost Indian playwright who in his play delineated contemporary social issues and successfully dramatizes the complexities of human relationships".

  Anjali Chaubey observes, "Dattani's plays penetrate the facade of normalcy and expose the power politics at work ....  The struggle with the dominant forces, the survival strategies, appearances, and pretences all get replicated in his plays."

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 Title of Mahesh Dattani Bravely Fought the Queen

 ‘Bravely Fought the Queen’ explores the baneful patriarchal system looming large in every nook and corner of Indian society. The system places its cruel and icy hands on women, oppressing and discriminating against them. This place showcases the themes of emptiness or hollowness of the lives of women trapped in the swirl of capitalism, of the futility of the conjugal life, of homosexuality, of persecution of women in the hands of their husbands, of money-lending, of prostitution, of debauchery, of victim-victimizer-relationship, of domestic violence, of exploitation, and of crass consumerism. This play highlights the social, sexual, and ethical depreciation of much-esteemed Indian values and how this is eating into the vitals of society, the conjugal life, and the evils of loneliness and loveless life.

In this play, the women-Dolly, Alka, Baa, and the old beggar- woman-are victimized by the cruel and heartless members of the patriarchal society. They are wallowing in the unfathomable abyss of physical and mental suffering and excruciating pain. They are found gasping under the obnoxious and fell clutches of patriarchy and gender bias and discrimination and prejudices. In this play, the women are not victims but are found fighting back at every available chance. Though they are marginalized, they endeavor to fight for themselves. Championing women and their causes, Dattani has rightly claimed, "I am fighting for my feminine self. And since I have the male self, which proportionate battle. The feminine self is not a victim in my plays. It's subsumed, yet, it's marginalized, but it fights back."

    At the same time, Dattani reveals the high position as well as the authority of some women in the family through the mysterious invisible but all-powerful figure of Baa who is virtually the head of the family. Thus the feminine significance is clearly marked in Dattani's play.


Moreover, the unconventional division of the play as the Women, the Men, and Free for All bears out the dramatist's artistic presentation of women, totally apart from men. The very openings Act has the title The Women Here all the characters present are women, even including the invisible Mother Baa. That Mahesh Dattani's play has a feminist savour is an indisputable matter.

 But this is not all. The dramatist shows, too, the suppressed feminine spirit that burst out under the extremity of male oppression and neglect. This is particularly shown through the affair of two Trivedi wives Dolly and Alka under the beastly authority of their hideous husbands Jiten and Niten who are tyrant and oppressive. Even both brothers assault their wives under the dictate of their mother Baa. Jiten even did not hesitate to hit brutally his pregnant wife, Dolly, resulting in the birth of his spastic child, Daksha. Nitin, with no less boorishness, drove away his wife Alka on his mother’s instruction. But so long neglected and terrorized Dolly and Alka begin to rise and offer a brave resistance, particularly in Act III. Both Dolly and Alka to raise their voice of protest and defiance to their husbands.

    Both Dolly and Alka rise, refusing to obey their husbands’ commands and even their despotic orders.  In fact, desperation has led them to a state of extremity. Moreover, they might have felt inspired by the heroic account of the Rani of Jhansi who fought bravely against the English oppressors. They are no more ready to oblige their husbands by humbly surrendering to whatever they may say. Alka, after getting drenched in rain and injuring her ankle, while dancing, claims that she has done no wrong to feel scared at all of her husband or his elder brother. She even asserts that she may not be an ideal wife, but that Nitin is also not at all an ideal husband. She, therefore, finds no justification to feel ashamed of what she has freely and fairly done.

   Dolly goes, perhaps, much more ahead. She refuses to be bullied by her husband. She sternly objects to Jiten's insulting behavior with Lalitha, Sridhar's wife. She defies his threat and does not cower, and bravely lays bare all his cruel assaults on her. She holds him responsible openly for the birth of her spastic child, Daksha. Along with her sister Alka, she offers a stolid resistance to the inhumanity of Trivedi brothersJiten and Nitin.

 Thus from the above ultimate analysis, there can be no doubt, that Bravely Fought the Queen is a feminist play, to a great extent. By portraying the dire and fatal consequences of these evils, the dramatist has composed this play as a plea for humanity and for tolerance. It is equally a cry for the acceptance of Indian values that are shifting, where tradition and contemporary clash, confuse, and create a new social landscape.


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