Drama owes history a great deal. Across the world, dramatists have extensively drawn upon historical themes. Shakespeare’s Julius Caesar is an ideal example of historical drama. Indian dramatists, too, have adopted this genre and produced fine literary pieces. Girish Karnad, Mohan Rakesh, and Jayashankar Prasad are the most eminent names in this area, who have exploited as well as explored historical sources to present their worldviews and acquaint the world with Indian history. However, some of their works have given way to serious controversy. They have been criticized for misrepresenting the past. Critics argue that these dramatists trespass the limits set by historical records and thus confuse facts with fiction. In response, dramatists use the authority of artistic license to justify themselves. Moreover, what is taken for the historical truth is itself doubtful for there are different versions of the same truth. Hence, the dramatist refines history through his/her own conscience and creates a new meaning that may not be consistent with the prevailing notions of the past, but has an artistic pleasure and is based on a deep understanding of human nature. I intend to analyze in my paper how dramatic demystification problematizes the accepted forms of historical truths. The subject matter will be discussed with special reference to Mohan Rakesh’s Ashadh Ka Ek Din (A Day in Early Autumn), a dramatic account of the life of well-known Indian poet Kalidasa.

History is a rich and fascinating reservoir for literature, especially drama. Most of the world classics have been composed on historical events. These events are not always narrated in a matter-of-fact style, but are often modified by dramatists’ personal imagination. For this reason, imaginary accounts of the past are criticized for misrepresenting historical truth and defiling its sanctity. In response, dramatists argue that historical literature is not mere imitation of history but a critical way of re-viewing it. The authority of artistic license and human spirit of inquiry are reasons enough to investigate into the past and demystify it. Besides, historical facts are not absolute; there are several versions of the same truth. Then why should its literary version be objected to? These are the kinds of arguments and counter-arguments that emerge out of Mohan Rakesh’s drama Ashadh Ka Ek Din (A Day in Early Autumn), a dramatic account of the life of the great Indian poet Kalidasa. Rakesh overlooks the popular lore about the poet’s life and portrays him from the individualist angle. The present paper discusses the implications of Rakesh’s rewriting of history in literary terms.

Rakesh’s description of Kalidasa’s life is fictional; except for the names of the poet and his works, all other details are invented. The drama begins at the time of early autumn. The poet is presented as a rural youth savoring the flora and fauna of country life.

He enjoys a cool rain with Mallika, his lover. Mallika is simply thrilled. She comes back to her home in this joyful mood. But her mother Ambika is cross with her. Ambika wants to marry Mallika off. But Mallika is content with her love for Kalidasa and doesn’t see any point in marriage. When Ambika brings up the matter of her marriage with Kalidasa, Mallika thinks it also unnecessary; for her emotional fulfillment is sufficient. Ambika criticizes Kalidasa as a selfish and irresponsible lover who does not want to marry because he has a carefree and unsettled mind.

English Studies Journal, Intra-Psychic Defense Mechanisms, Anita Desai, Humanistic Psychoanalyst, Neurotic Development, Familial Obligations, Biological Limitations, Psychological Limitations, Foreign Universities, English Governesses.