The Playwright as a Social Critic: A Critical Study of Vijay Tendulkars

Silence! The Court is in Session

Dr. S. John Peter Joseph,
Associate Professor of English,
St. Xaviers College (Autonomous),
Palayamkottai 627 002.
Tamil Nadu.
I have written about my own experiences and about what I have seen in
others around me. I have been true to all this and have not cheated my
generation. I did not attempt to simplify matters and issues for the audience
when presenting my plays, though that would have been easier occupation .
My plays contain my perceptions of society and its value and I cannot write
what I do not perceive (Vijay Tendulkar Afterword , Kanyadaan 71).
Of all the literary genres, drama can be considered the most appealing and the most
splendid form of literature. As a visual and composite art it remarkably illustrates the
magnificent saga of human life in varied forms and manifestations. By turning an actual
reality into an excellent aesthetic experience drama proves to be one of the best audiovisual
mediums of expression. As a powerful literary composition and effective medium of
communication it unfolds in a picturesque manner the moral, ethical, religious, philosophical,
social, cultural and political thoughts and views of the countries the world over. Being deeply
associated with the inner consciousness of the human race it represents mans hopes,
aspirations, visions, ideas, objectives, joys and sorrows with great insight. While discussing
the multitudinous nature of drama and theatre, Bharata in his world-famous book,
Natyashastra states: Theatre is life. There is no art, no craft, no learning, no yoga, no
action, which cannot be seen in it (qtd in Rangacharya 35). As the highest form of artistic
expression drama is not only a delightful source of entertainment but also a powerful vehicle
of instruction and illumination.
Drama in India has a rich and glorious tradition. Being hailed as the Fifth Veda it
encompasses the whole arc of life, ranging from the material to the spiritual, the phenomenal
to the transcendental and provide[s] at once relaxation and entertainment, instruction and
illumination (K.R. Srinivasa Iyengar 1). The glorious works of Sanskrit dramatists such as

Bhasa, Kalidasa, Shudraka, Vishakhadatta and Bhavabhooti are material proof of the splendid
dramatic heritage of India. Traditional or folk dramas which flourished after the decline of
the Sanskrit theatrical activities were written in several regional languages. Indian dramas in
Indian languages and the dramas in English translation have registered a tremendous growth
in the recent decades. The translations of the regional plays into English have doubtless
established a firm link between one regional language and another and this has led to an
exploration of Indian aesthetics, sensibility and cultural heritage.
The Indian playwrights turn to Indian myths, epics, legends, history, folk literature,
and dramatic traditions not only for inspiration but also for effective presentation of
contemporary social, cultural and political problems and conflicts in their plays. Several
Indian playwrights seem to have been greatly influenced by Western thinkers and playwrights
such as Sartre, Camus, Brecht, G.B. Shaw, Ibsen, Chekhov, Eliot, Ionesco, Pirandello, Pinter
and Beckett. Moreover, the Indian writers have achieved a thorough synthesis of all the three
distinguished traditions namely classical, folk and contemporary Western which has resulted
in the discovery of a new form as well as a new style of production. Aided by a perfect
blending of Western intellectual consciousness and Indian theatrical techniques, the
contemporary Indian dramatists in English, experiment with innovative themes and methods
of handling situations, character delineation, tone and expression in dialogue, stage craft and
technical virtuosity. Modern playwrights such as Asif Currimbhoy, Mahesweta Devi, Pratap
Sharma, Gurcharan Das, Mahesh Dattani, Manjula Padmanabhan, Shiv Subramanian, Tanika
Gupta and Lakhan Deb have enriched the Indian drama and theatre immensely. Among the
post-Independence playwrights who have made bold experiments in the area of theatrical art
and who continue to remain torch bearers of a new resurgence of the contemporary Indian
drama are Mohan Rakesh in Hindi, Badal Sircar in Bengali, Vijay Tendulkar in Marathi and
Girish Karnad in Kannada.
Vijay Tendulkar (1928-2008) is undeniably a great Indian playwright who is known
for his multifaceted creative genius. As a versatile and prolific Marathi writer he has authored
twenty-eight full length dramas, twenty-four one-act plays, and eleven plays for children.
Besides being an acclaimed dramatist he is well-known for his literary essays, political
journalism, screen and television writings, translated works and social commentaries. He has
also written novels and several short stories. Despite his interest and involvement in different
social, political and literary activities his genius finds full expression only in dramas. For his

vast dramatic output and avant garde theatrical activities in Marathi he has been honoured
with several prestigious awards including the Maharashtra State Government Award, the
Sangeet Natak Akademy Award, Padma Bhushan Award and the Katha Chudamani Award.
His writing career has spanned more than fifty years and several of his plays have, in fact,
become true classics in Marathi and they have been translated into English and other Indian
languages.
Tendulkar occupies a unique place in the history of contemporary theatre and he is
different from other playwrights because of his experimentation not only with the subject
matter but also with the form and structure of the drama. Though his innovative dramatic
techniques and experimental methods in the presentation of varied themes have brought new
authenticity and power to the highly orthodox Marathi theatre, his treatment of socially
controversial themes and his unconventional approach to human problems in his plays have
made him a controversial writer. As a renowned writer of realistic dramas he often electrifies
the conservative audiences with brutal themes and forthright dialogues. Being a very
sensitive writer he observes the social, political, cultural and moral degeneration of
contemporary society and presents it in his plays with thorough detachment and clinical
dispassion. In his plays he deals with the themes of love, sex, marriage, violence, gender
inequality, social inequality, power games, alienation and individual isolation. While
exploring the depths of human life and its complexities he does not fail to expose the
hypocrisy, promiscuity and emptiness of value systems found in the traditional Indian
middle-class society. By using the techniques of satire, irony, pathos and mock-element
effectively he criticizes the middle-class mindset and its conventional attitude towards life.
Deeply influenced by real life experiences, hearsay, news items, films, plays and literature
in general (Arundhati

Banerjee ) Tendulkar portrays the physical sufferings and

mental agonies which arise out of mans conflict with the hostile surroundings in which he
lives. With the vision of a social scientist he analyses human angst and predicament
extensively in his plays. He depicts not only the confrontation between society and individual
but also modern mans total failure to understand either himself or others in the society.
Tendulkar himself admits: Man is a complex phenomenon; any attempt at simplification
through generalization would be foolish. I fear it also falsifies the picture. I wouldnt do that.
Its an obsession with me to capture human behaviour, elusive and ever changing. At every
stage, what I perceived has been reflected in my work. Its not that I am writing now on a
conclusion reached long age (Gowri Ramnarayan). Obviously his approach to life is quite

affirmative and his unswerving commitment to human values is found in all his plays.
Among the plays written by Tendulkar the most popular and prominent are Shantata Court
Chalu Aahe (Silence! The Court is in Session x), Sakharam Binder, Gidhade (The Vultures)
and Ghashiram Kotwal (Gashiram the Constable).
Silence! The Court is in Session (1967), one of Tendulkars finest dramatic works, is a
play originally written in Marathi and later translated into English by Priya Adarkar. Known
for its artistic ingenuity and resourcefulness the play combines social criticism with the
tragedy of an individual victimized by society (Arundhati Banerjee xviii). It won awards
including the Kamaladevi Chattopadhyay Award in 1970 and Sangeet Natak Akademy
Award in 1971 and brought both national and international recognition to the playwright. The
play originated from a real life incident in which Tendulkar happened to overhear a group of
amateur players whom he was guiding to their destination, Vile Parle, the Mumbai suburb in
which he lived, where the group was going to stage a mock-trial. The play is in three acts and
it is a powerful satire on the shallow conventions and the shameful hypocrisy of the middleclass male-dominated society and also the deplorable legal system found in contemporary
society. By using the techniques of dramatic irony and satire effectively the playwright
portrays how a young woman suffers a lot and undergoes deep mental agony when she is
betrayed by the other members of the group.
The members of an amateur theatre group called The Sonar Moti Tenement
(Bombay) Progressive Association come to a suburban village near Bombay to stage their
play on the trial of American President Lyndon B. Johnson on the charge of producing atomic
weapons. The primary aim of the amateur theatre is to educate the public with current social
problems and issues which affect contemporary society seriously. The association has chosen
to educate the public on the procedures of a court of law by staging a mock-trial. The
members represent a small cross-section of middle-class urban society. In the words of
Arundhati Banerjee: Their characters, dialogues, gestures and even mannerisms reflect their
petty, circumscribed existences fraught with frustrations and repressed desires that find
expression in their malicious and spiteful attitudes towards their fellow beings (viii). Mr.
Kashikar, known for his pretentions of social upliftment and enlightenment, is the chairman
of the drama troup. Without any independent thinking and individual stature Mrs. Kashikar
follows her husband like a shadow. Since the couple is childless and nothing should happen
to either of them in their bare, bare house -- and that they should not die of boredom!

(Silence! The Court is in Session 6) they have brought up and educated an orphan, Balu
Rokde, whom they treat as a slave. Sukhatme is a briefless lawyer who just sits alone in the
barristers room at court, swatting flies with legal precedents! And in his tenement, he sits
alone killing houseflies (6). Ponkshe who has failed twice in his Inter Science Examination
works as a clerk in the Central Telegraph Office. Karnik is an actor in the experimental
theatre with his pretentions of being an expert on Intimate Theatre. Rawte has not turned up
and he is replaced by Samant, a local resident. Damle is a professor who prides himself on
his book learning. But when theres a real-life problem, away he runs! (6-7). He is not
attending todays programme. The only exception in the group is Leela Benare who happens
to be the central character of the play. She is a young school teacher and through her
consciousness the hypocrisy of the male-dominated middle-class society and its brutal
hostility against women is exposed. Benare is young, energetic, vivacious rebellious and
individualistic and defies established social conventions and dictates.
Leela Benare and Samant are the first to arrive at the village hall where the actors are
to stage a Mock Law Court. While talking about her teaching career she tells Samant: In
school, when the first bell rings, my foots already on the threshold. I havent heard a single
reproach for not being on time these past eight years. Nor about my teaching. Im never
behind-hand with my lessons! Exercises corrected on time, too! Not a bit of room for
disapproval -- I dont give an inch of it to any one! (3-4). Then she tells him about the
impeccable, candid and outspoken nature of children in the school: Theyre so much better
than adults. At least they dont have that blind pride of thinking they know everything.
Theres no nonsense stuffed in their heads. They dont scratch you till you bleed, then run
away like cowards (4). While talking about the relationship between her and her students in
the class she tells him: In class, I never sit when teaching. Thats how I keep my eye on the
whole class. No one has a chance to play up. My class is scared stiff of me! And they adore
me, too. My children will do anything for me. For Id give the last drop of my blood to teach
them (4). She tells Samant that because of her efficiency in her teaching work and the
enviable attachment of her students to her, other teachers and the management are
unjustifiably jealous of her. She says: But what can they do to me? What can they do?
However hard they try, what can they do? Theyre holding an enquiry, if you please! But my
teachings prefect. Ive put my whole life into it -- Ive worn myself to a shadow in this job!
Just because of one bit of slander, what can they do to me? Throw me out? Let them! I
havent hurt anyone. Anyone at all! If Ive hurt anybody, its been myself. But is that any

kind of reason for throwing me out? Who are these people to say what I can or cant do? My
life is my own -- I havent sold it to anyone for a job! My will is my own. My wishes are my
own. No one can kill those -- no one! Ill do what I like with myself and my life! Ill decide
.(5). These words reveal the assertive, independent, bold, indomitable and individualistic
nature of Miss. Benare. Then she makes to Samant sarcastic remarks about Mr. Kashikar,
Mrs. Kashikar, Balu Rokde, Sukhatme, Ponkshe and Professor Damle.
Benare is sometimes a naughty, childish, mischievous and fun-loving woman. When
she tries to entertain other actors she is scolded by Sukhatme. She tells him: But I dont see
why one should go around all the time with a long face. Or a square face! Like that Ponkshe!
We should laugh, we should play, we should dance too. Shouldnt have any false modesty or
dignity. Or care for anyone! I mean it. When your lifes over, do you think anyone will give
you a bit of theirs? What do you say, Samant? Do you think they will? (8). She further tells
Samant I say it -- I, Leela Benare, a living woman, I say it from my own experience. Life is
not meant for anyone else. Its your own life. It must be. Its a very, very important thing.
Every moment, every bit of it is precious (8).
Except Professor Damle and Rawte, all the other actors have arrived. Professor Damle
is unable to join them as he is busy with a symposium in the university. Rawte is absent
because he is sick with flu. Sukhatme tells Kashikar that he will play the roles of both the
counsel for the prosecution and that for the accused. Then Samant is asked to play the role of
Rawte and thus he becomes the fourth witness in the Mock Law Court. Since they have
already staged the atomic weapons trial seven times in the past three months they feel that
they need not have the rehearsal before the show. Ironically it is Benare who suggests the
idea that a different play other than the atomic weapons trial should be performed. They
finally decide to stage a mock-trial in order to make Samant understand the intricacies of
court procedure.
Arrangements are being made to perform the mock-trial or the play-within-the play.
When Benare goes into the inner room to wash her face Ponkshe and Karnik who have some
knowledge of Benares personal life conspire against her. Finally at Sukhatmes suggestion
they all decide to make Benare the accused in the mock-trial. Mrs. Kashikar too supports
the idea by saying: Well be able to see what the trial of a woman is like (22). When
Benare comes out of the inner room fresh, singing a song Ponkshe tells her: Miss Leela
Benare, you have been arrested on suspicion of a crime of an extremely grave nature, and

brought as a prisoner before the bar of this court (23). Benare is terribly shocked. Unable to
understand what is happening, she looks around her numbly (23). Kashikar assuming the
role of the judge addresses Benare: Prisoner Miss Benare, under section 302 of the Indian
Penal Code you are accused of the crime of infanticide (23-24). Benare is greatly stunned on
hearing this unexpected charge and the whole atmosphere becomes incredibly serious and
grim. In order to throw more light on the case Kashikar, the judge, says The question of
infanticide is one of great social significance. Thats why I deliberately picked it. We
consider societys best interests in all we do (26). Then he asks Benare whether she is guilty
of the charge that has been brought against her. Benare tells the judge I plead not guilty. I
couldnt even kill a common cockroach. I am scared to do it. How could I kill a new born
child? (30). The distinction between the fictitious accused and the real-life one ceases to
exist and the mock-trial begins to assume sinister dimensions. Benare is terribly crushed and
humiliated by others under the ostentation that the trial is nothing but a game. As the counsel
for prosecution Sukhatme begins his argument which reflects spontaneously the views of the
male-dominated society. Milord the nature of the charge brought against the accused is a
most terrible one. Motherhood is a sacred thing -- ... Motherhood is pure. Moreover, there is a
great er -- great nobility in our concept of motherhood. We have acknowledged woman as
the mother of mankind. Our culture enjoins us to perpetual worship of her. Be thy mother as
a god is what we teach our children from infancy. There is great responsibility devolving
upon a mother. She weaves a magic circle with her whole existence in order to protect and
preserve her little one -- (30). He further explains the seriousness of the crime: Considering
this, what would we respectable citizens say if any woman were to take the life of the delicate
bundle of joy she has borne? We would say, there could be no baser or more devilish thing on
earth. I intend to establish by means of evidence that the prisoner has done this same vile
deed (31).
Ponkshe the first witness tells the judge that though Benare is a school teacher by
profession and remains unmarried to the public eye she runs after men too much(33). The
next witness Balu Rokde tells the court that he saw Benare in Professor Damles hostel room
during the night time in a compromising position. Now the mock-trial has become a serious
trial in real life. Benare who has so far been playful and frivolous slowly begins to understand
that she has become the real target of their blood-thirsty game. Rokde further states that
Professor Damle deliberately refused to meet him because Miss Benare was there. Based on
the evidence given by Rokde, Sukhatme tells the judge. Even to an impartial observer, it

reveals that Miss Benares behaviour is certainly suspicious (39). Realising very well that
she has landed in a terrible scandal Benare bursts out in anger: If you like, Ill give you the
names and addresses of twenty-five more people with whom I am alone at times. Holding a
trial, are you? Suspicious, indeed. You dont even understand the meaning of simple
words!(40).
Then Samant is called in as a witness. Though he says that he has never known
Professor Damle and he has known Miss Benare only for two hours he is urged by Sukhatme
and others to use his imagination to give some evidence against Benare. Sukhatme tells him:
Mr Samant, for the sake of the trial, were taking some things for granted. (43). Karnik tells
him: The crime is imaginary ... thats what it is (43). Ponkshe says: Only the accused is
real! (43). As one who has read some cheap romances Samant cleverly fabricates an
evidence against Benare. He tells the judge that Professor Damle and Miss Benare were
inside the room. The door was locked from inside. He had gone to Professor Damles hostel
room to invite him for a lecture. But Professor Damle refused to talk to him and shut the
door. When the door was shut he did not know what to do. At that time he heard someone
crying inside the room and it was a woman (44). He then tells the counsel that the woman
who was crying asked Professor Damle If you abandon me in this condition, where shall I
go? (45). Then he heard Professor Damle answering: Where should you go is entirely your
problem. I feel great sympathy for you. But I can do nothing. I must protect my reputation.
Then the woman was heard saying thats all you can talk about, your reputation? How
heartless you are!. For this Professor Damle replied, Nature is heartless . The woman
further said, If you abandon me, I shall have no choice but to take my life Bear it in
mind that you will not escape the guilt of murdering two . two living beings (45).
Benare becomes furious, tense and stunned. Unable to tolerate the deposition made by
Samant, Benare bursts out in anger: Thats enough! ... Its all a lie! A complete lie! ... This
has got to stop! Not a word of it is true! ... Its all made up! Its a lie! ... Youre telling
barefaced lies! (45-46). Then Samant tells the counsel that whatever he has spoken has been
taken away from the book which he has hidden behind him. Finding herself in a cruel and
pathetic situation Benare accuses all of them saying Youve all deliberately ganged upon
me! Youve plotted against me! (46). She cannot bear this situation any more. Her eyes are
filled with tears. She is unable to speak because her voice is choked. She is tense and
agitated. She then takes up her bag and tries to leave the place. She tries to open the door. The

door does not open because it is locked from outside. She now realizes that she is trapped in
the hall where her tormentors are ready to tear her flesh bit by bit by way of conducting a
mock-trial. They have finally decided to continue the trial till the arrival of the villagers.
Miss Benare then is summoned to the witness box. Benare refuses to move.
Mrs. Kashikar pulls her along forcefully to the witness box. Benares face shows the terror
of a trapped animal (50). Sukhatme asks her questions. But Benare stands silent and does
not respond to his questions. Mrs. Kashikar then steps into the witness box and tells the
counsel that Benare though thirty-four remains unmarried because she gets everything
without marrying. She further adds, Its the sly new fashion of women earning that makes
everything go wrong. Thats how promiscuity has spread throughout our society (54). She
also gives the information that Benare went off with Damle after the performance. She also
reveals that Professor Damle is a family man with five children. Balu Rokde then testifies. He
confesses that eight days ago after the performance at Dombivli when he and Miss. Benare
were left alone the latter took his hand in the dark. He told her that it was not proper and then
he freed his hand. She moved away. She said, Dont tell anyone what happened (57).
Ponkshe as a witness testifies against Benare again. He tells the mock-judge that when he
met Beware in a hotel she expressed her desire to marry him as she had just been through a
shattering heartbreak (63). He also came to know from Benare how Professor Damle was
responsible for the child which she is now carrying in her womb and how he had refused to
marry her. She also told him that she worshipped that mans intellect. But all he understood
was her body (63). He also tells the judge that he saw her carrying a bottle of TIK 20 in her
bag. On hearing the words of Ponkshe in the mock-court Benare sits like a block of stone,
drained of colour and totally desolate (60). But everyone is happy that the cats out of the
bag! (63) at last.
Karnik then enters the witness box and informs the court that Benare proposed
marriage to Balu with the view that he could be independent and free from the control of
Kashikars. She also made a promise to him that she would support him financially if he
married her. But Balu turned down her proposal saying I am scared. And if I marry you
when youre in this condition, the whole worldll sling mud at me. No one in my familys
done a thing like that (65). He further informs the court that he has recently learnt from a
common friend that the accused attempted suicide because of a disappointment in love. She
fell in love at the age of fifteen, with her own maternal

uncle! Thats what ended in

disappointment (66). Benare becomes terribly upset and struggles to her feet and tries to
reach the door. But Mrs. Kashikar grasps her and forces her physically back to the dock.
By setting aside the court tradition Mr. Kashikar, the judge of the mock-trial,
expresses his desire to be openly examined as a witness. Standing in the witness box he tells
Sukhatme, the counsel for prosecution, that Nanasaheb Shinde, the Chairman of the
Education Society, Bombay, has already decided to dismiss Benare from her service. He tells
the lawyer that he heard Nanasaheb talking to someone on the phone angrily: It is a sin to be
pregnant before marriage. It would be still more immoral to let such a woman teach, in such a
condition! There is no alternative -- this woman must be dismissed (69). Dazed by the
revelations made by Kashikar, Benare tries to drink the deadly poison TIK 20 but she is at
once prevented from doing so by Karnik.
Now the counsel for prosecution, Sukhatme, presents his case. His argument reveals
the patriarchal views of the traditional middle-class society regarding women and
motherhood. He says that Benare has made a heinous blot on the sacred brow of motherhood
-- which is purer than heaven itself (70). According to him the conduct of the accused has
blackened all social and moral values and she has now become public enemy number one
(71). He further argues that though the charge against the accused is one of infanticide she
has committed a far more serious crime i.e., unmarried motherhood. He adds: Motherhood
without marriage has always been considered a very great sin by our religion and our
traditions. Moreover, if the accuseds intention of bringing up the offspring of this unlawful
maternity is carried to completion, I have a dreadful fear that the very existence of society
will be in danger. There will be no such thing as moral values left (71). He continues to say
that the accused has plotted to dynamite the very roots of our tradition, our pride in
ourselves, our culture and our religion (71). He upholds the patriarchal principle that
woman is not fit for independence. According to him Miss Benare is not fit for
independence and he requests the judge not to show any mercy but to give her the greatest
and severest punishment for her terrible crime(71). As the defence counsel in the case
Sukhatme weakly defends Benares actions saying human beings are prone to error. He
faintly requests the judge to view her case with mercy.
Mr. Kashikar asks Benare whether she has anything to say about the charge made
against her. The stunned and motionless Benare stands up erect and says: Yes, I have a lot to
say (72). What follows is a long speech in which she pours out from her heart which has

been tightly closed for several years. After realizing that the secret of her personal life has
been cleverly and cunningly exposed by the co-actors through the mock-trial she now is
able to prevail over her sense of embarrassment and lays bare her suppressed feelings frankly
and fearlessly. Though her speech is marked with deep sighs and moans she does not fail to
present her point of view in an admirable manner. She openly admits that she had to face
difficulties and suffer from frustration and dilemmas at different stages in her past life. She
says: My life was a burden to me ... But when you cant lose it, you realize the value of it.
You realize the value of living (72). Though she had a lot of zest and gusto for life she found
that there was a great joy in suicide. Its greater even than the pain of living (73).
Expressing her own philosophy of life she says, Life is a book that goes ripping into pieces.
Life is a poisonous snake that bites itself. Life is a betrayal. Life is a fraud. Life is a drug.
Life is drudgery. Life is a something thats nothing -- or a nothing thats something (73).
Then in utter desperation she tells the judge: Milord, life is a very dreadful thing. Life must
be hanged (73). She then recounts how people who have lived around her have drastically
failed to understand her inner feelings and even her biological urges. She says: Only one
thing in life is all-important the body! You may deny it, but it is true (73).
Recalling what she did in the school as a teacher she narrates that she taught the
children beauty and purity. I cried inside, and I made them laugh. I was cracking up with
despair, and I taught them hope (73). As a typical modern and emancipated woman Benare
questions the validity of dismissing her from her job. She asks: For what sin are they
robbing me of my job, my only comfort? My private life is my own business. Ill decide what
to do with myself; everyone should be able to! (73). She considers men to be hypocrites
whose interest lies only in the body of a woman and not in her sufferings. While commenting
on her co-actors she says: These are the mortal remains of some cultured men of the
twentieth century. See their faces -- how ferocious they look! Their lips are full of lovely
worn-out phrases! And their bellies are full of unsatisfied desires(74). She then admits that
she was in love with her maternal uncle because it was he who first associated with her
closely in her strict house and admired her blooming youth. It was he who gave her love and
a whole meaning to life (74). She was hardly fourteen and she did not know at that time
whether it was a sin to be physically very close with ones maternal uncle. When she
expressed her desire to him for a marriage so that she could live her beautiful lovely dream
openly (74) he as a hypocrite turned tail and ran (74). She felt like smashing his face in
public and spitting on it (74). Feeling cheated and betrayed she tried to commit suicide by

jumping off the roof of her house. But she did not die. Since she felt her feelings and
biological urges were fully alive in her body she again fell in love. But this time as a grown
up woman and her love was for an unusual intellect (74). She confesses: It isnt love at all
-- its worship! But it was the same mistake. I offered up my body on the altar of my worship.
And my intellectual god took the offering -- and went his way (75). She pathetically states:
He didnt want my mind, or devotion -- he didnt care about them! ... He wasnt a god. He
was a man. For whom everything was of the body, for the body! Thats all! (75). Unable to
bear the excruciating and bitter experience of her frustrated love Benare feels weak, writhes
in pain and mental agony and finally screams. Yet no one feels pity for her. They simply
watch the whole scene with indifference. She then tells the judge that she wants to live for the
sake of the tender little bud -- of what will be a lisping, laughing, dancing little life my son
my whole existence! (75). She is very firm that she wants her body now for her son and
he must have a mother a father to call his own a house to be looked after he must
have a good name!(75).
Thus she reveals her agonized self, her intense feeling of love and gusto for life which
resulted unfortunately in pregnancy. Because of her natural thirst for love and sexual desires
she happened to defy the patriarchal values, cultural and moral restrictions and the institution
of marriage. Without any pretention she openly admits her moral weakness and tragic
dilemma courageously. While commenting on Benares long speech in the mock-trial
Arundhati Banerjee observes: Leela Benares defence of herself against the onslaughts of
the upholders of social norms in a long soliloquy, has become famous in the history of
contemporary Marathi theatre In fact, during the court proceedings, on several occasions,
her objections and protestations are drowned by the judges cry of Silence! and the banging
of the gravel. Benares monologue is more a self-justification than an attack on societys
hypocrisies. It is poignant, sensitive and highlights the vulnerability of women in our society
(ix).
Though the members of the mock-court have, in fact, derived a lot of vicious and
sadistic pleasure by forcing Benare to disclose her private sexual life they are, no doubt,
stupefied by her true and honest confession of the intimate secrets of her life. Finally
Kashikar, the judge, gives the verdict. He tells Benare that the crimes committed by her are
most terrible. He states: Marriage is the very foundation of our societys stability.
Motherhood must be sacred and pure. (Silence! The Court is in Session 76). He continues:

No memento of your sin should remain for future generations. Therefore, this court hereby
sentences that you shall live. But the child in your womb shall be destroyed(76). The judge
passes his judgement without giving a chance for cross-examination by the defence-lawyer
and this violates the basic norms of the court. Moreover, the judgement is based on halftruths and fictitious stories presented by the character-assassinators and scandal-mongers (E.
Renuka 55).
On hearing the inhuman, heartless, merciless and cold-blooded verdict of the judge,
Benare writhes in unbearable pain and screams: No! No! No! I wont let you do it I
wont let it happen I wont let it happen! (Silence! The Court is in Session 76). Terribly
upset with the paroxysms of torment (76) Benare collapses on the nearby table. She is
found motionless and only stifled sobs are heard when others are as still as statues (76).
At this time someone from outside opens the door and asks whether the play has already
started. Samant answers him by saying that the play is yet to begin. Meanwhile others try to
convince her that it was after all a mock-trial and only a game. Unable to wake her up from
her inert position Samant places the green cloth parrot in front of her and goes away. At the
end of the play Benares voice is heard singing a song softly.
The play thus reveals the moral hypocrisy, the sadistic tendencies, the hostility and
the verbal violence of the male-dominated society against women. As a sensitive and
committed writer Tendulkar perceives the harsh realities of contemporary society and depicts
them artistically without preconceived notions. By using the technique of a play within
the play the playwright portrays the conflict between Benare and the middle-class patriarchal
society effectively. Benare who is known for her uncompromising spirit of independence and
natural guesto for life has been inhumanly treated as an accused in the chauvinistic court of
law. She has to undergo agonizing torture and psychological trauma for challenging the
scornful and cynical social norms and mode of behaviour. She has become a desperate victim
of society because she tries to live independently and enjoy life as much as possible. As an
emancipated woman of modern India she has been in search of true meaning of life. Because
of her motherly instinct and her care and anxiety for the well-being of her child in the womb
she goes to the extent of begging the undeserving men to marry her and father her child.
While she is held responsible for unwedded motherhood which is considered to be a serious
act of social trespass Professor Damle who undermines Benares honour and self-respect by
making her pregnant is allowed to go scot-free. Neither the so-called society-conscious man

Mr.Kashikar nor the other members of the troupe find fault with Professor Damle who,
despite having a wife and five children, has willfully acted against the sacred institution of
marriage by indulging in an extramarital affair.
A judicial court is expected to uphold dignity and decorum and render justice with
disinterestedness. It has to redress the grievances of the affected people based on proper
investigation and examination. But unfortunately Benare is held guilty in the trial on the basis
of the fabricated evidences given by the witnesses. The judge does not take efforts to probe
whether what the witnesses have said in the court is true or not. Obviously the hardcore malechauvinistic prejudice has turned the judicial system into a mechanism to suppress the voice
of women in society. Instead of examining the charge levelled against Benare objectively the
judge views the case with the jaundiced outlook of bourgeois mentality. The very judicial
system which is supposed to guard the vulnerable and the weak has eventually turned out to
be a repressive and dehumanized system. Since the people who involve themselves in the
process of justice lack compassion, kindness and fellow-feeling the justice rendered by them
fails drastically to protect human dignity and values. Though Benare has been tried in the
mock-court for the mock-charge of infanticide she is finally compelled by the court to
commit the real crime of infanticide. Quite ironically the charge which has been framed
against Benare at the beginning of the trial has turned out to be the real verdict at the end of
the play.
As a keen observer of life Tendulkar presents the changing reality of contemporary
society authentically and honestly in the play. His real and genuine concern for the oppressed
and his awareness of social evils has originated from his true understanding of society. He
does not certainly approve of the waywardness of Benare but he tends to sympathize with
her. Tendulkar does not offer any solution to the problem but leaves it to the discretion of the
readers. The treatment of the theme, characterization and the structure of the play reveals his
artistic excellence. The play is widely appreciated for its technical experiments, textual
compactness, sharp dialogue, skilful art of characterization and brilliant plot construction.
The use of irony and satire and the symbols such as the green cloth parrot and the locked door
certainly enhance the dramatic effect. Moreover, the excellent combinations in the dramatic
narrative of the tragic and comic episodes such as using the English dictionary for a holy
book in the process of taking oath, spitting contest and ear picking during the court
proceedings show the real artistry and creative skill of the playwright. The very title of the

play indicates the silence imposed on women in Indian society. On the whole, Vijay
Tendulkars Silence! The Court is in Session has become an artistic and creative treasure in
the realm of Indian Drama in English.
WORKS CITED
Banerjee, Arundhati. Introduction, Vijay Tendulkar: Five Plays. New Delhi:
Oxford University Press, 1992.
Iyengar, K.R. Srinivasa. Drama in Modern India. Bombay: The P.E.N. All India
Centre, 1961.
Renuka, E. Silencing Womens voice: A Study of Vijay Tendulkars Silence!
The Court is in Session. Kakatiya Journal of English Studies, Volume 15, December
1995.
Ramnarayan, Gowri. An Interview with Vijay Tendulkar. Frontline, March 27,
1992.
Rangacharya, Adya. The Indian Theatre. New Delhi: National Book Trust, 1971.
Tendulkar, Vijay. Afterword Kanyadaan. Delhi : Oxford University Press, 1966.
Tendulkar, Vilay. Silence! The Court is in Session. Chennai: Oxford University
Press, 2000.
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