Examine the significance of the title “The Final Solutions”.

Assignment-2

Examine the significance of the title “The Final Solutions”.

Name:   Avani Jani

paper: 202 Indian English Literature – Post-Independence

Roll no: 03

Enrollment no: 4069206420220014

Email id: avanijani.18@gmail.com

Batch: 2023-2024 (M.A Sem 3) 

Submitted to: S. B. Gardi Department of English, maharaja Krishnakumarsinhji Bhavnagar University

Writer Introduction:

Mahesh Dattani was born on August 7th, 1958, in Bangalore, Karnataka. His parents were originally from Porbandar in Gujarat. He went to to Baldwin High School where "Snob Culture" prevailed. Proficiency in English and a Westernized lifestyle were considered to hoist one head and shoulders above one's countrymen not similarly endowed. All communication happened in English, and the use of vernacular was looked at with disdain. The contempt for indigenous languages and mores foisted on by the school, however, could not dampen Mahesh's ardor to watch Gujarati, Marathi, and Kannada plays with his parents and sisters. These plays were to make a lasting impression on his psyche, kindling his inherent propensity for theatrical art. Being a son of the soil, he would channel his thespian energy to portray the variegated flavor and sensibility of Indian life through stage plays, radio plays (for BBC Radio 4), and screenplays (films). (Gawande )

Promod K. Nayar considered Mahesh Dattani as “Daring and innovative” by arguing that Dattani has made Indian drama in English a major genre of social critique today. His increasing presence in college syllabi, research projects, and now film adaptations suggests a growing popularity. Mahesh Dattani is perhaps India's most important playwright in English today. Dattani blends conventional themes with some startlingly new ones in his work. His plays combine the intimate with the social, the personal, and the public, often exploring the boundaries between these realms. (Chaudhuri )

Short Summary of ‘Final Solution’

• The play opens with Daksha, a young bride in 1948, yearning for freedom to pursue her singing passion. Her story parallels that of her Muslim friend, Zarine. In the present, in a Gujarat village, tensions rise after a Hindu idol is destroyed, sparking unrest between Hindus and Muslims. Smita, Daksha's granddaughter, receives a distressing call about a bomb blast from her friend Tasneem. Amid growing tension, two Muslim boys, Javed and Bobby, seek refuge in Ramanik's home while a hostile mob surrounds it. Despite resistance, Ramanik refuses to surrender them, and Smita recognizes the two young men.

• Smita is questioned about her connection to Javed and Bobby. She reveals that Javed is Tasneem's brother, and Bobby is her fiancé. When tensions rise outside, Smita brings them into her home. Amid a heated exchange, Javed expresses his feelings of being a minority. Ramanik, the host, tries to bridge understanding by offering them milk. However, Smita discloses that Javed had ties to a terrorist organization and was disowned by his family, causing a rift. Smita's revelation leads to shock and her sudden departure from the scene.

• Ramanik provokes Javed about his involvement in terrorism, leading to a heated exchange and a slap. Bobby steps in to calm the situation and reveals a past incident of inter-community violence involving Javed. Ramanik threatens to call the police, but Javed shares a chilling confession about an attempted murder in the name of Jihad. Ramanik is moved and calls Javed brave. Smita apologizes for revealing his secret. Aruna and Smita argue about their differing religious beliefs. Later, Smita, Bobby, and Javed playfully share memories and splash water on each other. Meanwhile, Daksha recalls a violent incident from her past and wishes hardship upon Javed's sister, prompting Ramanik to defend them. Bobby symbolically promotes harmony. The play concludes with no definitive solutions to the age-old communal issues that persist in society.

Significance of the title: 

The title carries historical connotations, most notably linked to the Holocaust, and serves as a stark reminder of the atrocities committed during that dark period. This historical reference immediately sets a somber and weighty tone, preparing the audience for a narrative that deals with serious and sensitive themes.

However, Dattani's choice of title goes beyond a mere historical allusion. The play, while not directly addressing the Holocaust, delves into the contemporary issues of communal tensions and religious conflicts in India, particularly against the backdrop of the Hindu-Muslim riots in Gujarat in 2002. By drawing parallels between historical and contemporary contexts, the title underscores the universality of conflicts and the potential repetition of mistakes when divisive ideologies are not adequately addressed.

The term "Final Solution" implies a sense of permanence and resolution, suggesting that there could be a definitive end to communal strife. However, Dattani skillfully challenges this notion within the narrative. The play unfolds over a single day, heightening the urgency and tension, but it also reveals the deep-rooted prejudices and misunderstandings that perpetuate the cycle of violence. The title, therefore, becomes a poignant commentary on the elusive nature of true solutions when individuals are unable or unwilling to confront their own biases.

Moreover, the title prompts a reflection on the complexities of identity and the reductionist thinking that often fuels communal tensions. By choosing "Final Solution," Dattani shines a light on the danger of categorizing individuals solely based on religion, encouraging the audience to question such simplistic perspectives. The play becomes a vehicle for interrogating these societal attitudes, challenging the rigid boundaries imposed on individuals, and fostering a deeper understanding of human complexity.

In terms of structure and pacing, the title sets the tone for the entire work, creating a sense of urgency and tension that persists throughout. It serves as a thematic anchor, emphasizing the gravity of the issues at hand and the need for a meaningful resolution.

Furthermore, the title's explicit reference to the Holocaust raises ethical and moral considerations about depicting historical atrocities in art. Dattani's choice prompts the audience to reflect on the responsibilities and challenges faced by artists when tackling sensitive subjects, underscoring the power and limitations of art in addressing complex societal issues.

In summary, the significance of the title "Final Solution" in Mahesh Dattani's play lies in its ability to evoke historical horrors, draw parallels to contemporary conflicts, and prompt a nuanced exploration of identity and societal attitudes. The title serves as a thematic guide, emphasizing the urgency of addressing communal tensions while challenging simplistic notions of resolution.

Significance of the time : 

Mahesh Dattani devoted over a year to extensive research for the play. His research included studying books like "Freedom at Midnight" by Larry Collins and Dominique Lapierre, as well as consulting the Kannada weekly magazine, "Lankesh Patrike." Furthermore, he conducted numerous interviews with survivors of communal riots in Gujarat and Karnataka.

And as Mister Dhiren Parmar mentions, a. One of the riots that Dattani researched that particularly caught his attention was the 1985 Rath Yatra riot in Ahmedabad. Mr. Dhiren Parmar believes that -” This would have become his inspiration for the riot that brings Javed and Bobby to the Gandhi family in Final Solutions.”(Parmar ) 

The play gains added significance due to the political context of the Hindu Right's Ramjanmabhoomi movement during its writing and production.

In the early nineties, the Bharatiya Janata Party (BJP) endorsed the demolition of the Babri Masjid through religious processions called Rath Yatras. 

The backdrop of these Rath Yatras is integral to the play, as they serve as the backdrop for the communal riots depicted. The play highlights this connection through the portrayal of a Rath Yatra being disrupted as it passes through a Muslim neighborhood.

"Final Solutions," written and staged in 1993, coincided with a period of heightened tension and urban violence in India. Mahesh Dattani's play was a response to the 1992 Babri Masjid demolition, and it evolved within this specific social context. Dattani's deep social awareness compelled him to tackle the pressing issue of religious communalism, advocating for communal harmony. The play underscores the id

Time has played a significant role as it indirectly represents the background of the Playwright's time as well through the character of Daksha / Hardika.

The communal violence between these groups brings back Hardika‟ 's memories of partition and her life as a new bride in 1948. Her memories are expressed through the character of Daksha who is shown reading from her diary. 

--This situation throws light upon time.

Memory is a crucial discourse in contemporary literature. It leaps out as one of the dominant clear-cut societal, mental, and psychological panorama. Meory actually retains the Main topical items throughout various modes and models.

As Mr. Dhiren Parmar also highlights -  Through the character of Daksha the audience is slowly able to know the two factors that are the source of Hardika‟ 's animosity. (Parmar )

Forgetting occurs in history, politics, and life in general. "The struggle against power is the struggle of memory against forgetting", comments Milan Kundera in his book Book of Laughter and Forgetting (Kundera #)

Significance of Space

The play is into three spaces one, the mob, two, the Gandhi family and three, the memory of Dakhsha. 

Mr. Dhiren Parmar feels that at various points in time, these three separate worlds interact and overlap with each other. (Parmar )

The local Hindu and Muslim communities, symbolized by the Mob/Chorus, are being driven toward conflict during the riots. The communal violence between these groups triggers Hardika's recollections of the partition era and her experiences as a newlywed in 1948. These memories find expression through the character of Daksha, who is depicted reading from her diary.

Final Solutions opens with the image of five masked individuals dressed in black. Dattani has named them Mob/Chorus. Each member has two masks one is of Hindu and the other of Muslim. The local Hindu and Muslim communities, represented by the Mob/Chorus are blowing each other for the riots

Conclusion:

In "Final Solution" by Mahesh Dattani, the title carries historical weight, alluding to the Holocaust while addressing contemporary communal tensions in India. The play explores the complexities of identity and challenges the notion of a definitive resolution to communal strife. Time plays a significant role, with Dattani's extensive research and influences like the Rath Yatra riot shaping the narrative within the political context of the Ramjanmabhoomi movement. Memories, particularly through Daksha's character, reveal the lasting impact of historical events. The interplay of space, represented by the mob, the Gandhi family, and memories, adds depth to the narrative, emphasizing the interconnectedness of communal conflicts and personal histories. "Final Solutions" stands as a powerful commentary on societal challenges, memory, and the complexities of identity.

References cited : 

Chaudhuri, Asha Kuthari. Mahesh Dattani: An Introduction. Foundation Books, 2005. Accessed 17 October 2023.

Dawande, Jitendra. “Mahesh Dattani as a Playwright or the Autobiographical Note in Mahesh Dattani's Plays.” International Journal of Science and Research (IJSR), vol. 10, no. 10, October 2021. International Journal of Science and Research, https://www.ijsr.net/archive/v10i10/SR211014083450.pdf.

Kundera, Milan. The Book of Laughter and Forgetting. Translated by Aaron Asher, HarperCollins, 1999, https://www.amazon.in/Book-Laughter-Forgetting-Perennial-Classics/dp/0060932147.

Parmar, Mr. Dhiren. “Mahesh Dattani’s Final Solutions: an Analytical Study.” International Journal of Humanities and Social Science Invention (IJHSSI), vol. 8, no. Aug. 2019, https://www.ijhssi.org/papers/vol8%288%29/Series-2/E0808024954.pdf.

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