International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 3, Aug 2013, 103-108 © TJPRC Pvt. Ltd.
VIJAY TENDULKAR’S ‘THE CYCLIST ‘THE CYCLIST’’ IS A PLAY OF EXISTENTIALISM JANARDHANREDDY. K 1, A. PHANIRAJA KUMAR 2 & P. SATYANARAYANA3 1
Assistant Professor of English, CBIT-Proddatur, Kadapa, Andhra Pradesh, India
2
Research Scholar, Department of English, Rayalaseema University, Kurnool, Andhra Pradesh, India
3
Research Supervisor, Department of English, Rayalaseema University, Kurnool, Andhra Pr adesh, India
ABSTRACT Vijay Tendulkar was India’s most turbulent and controversial playwright. The depiction of life in his plays has an invisible but solid foundation in his philosophy of life. ‘Th e Cycli st a hard-hitting play by Tendulkar unveils the complex , ’ ’
and mulish attitudes that permeate our middle class society. The main character is locked within the confines of home by his over-protective parents. At the end, he wants to make a journey to the worldly places on his cycle which is a symbol of progress and wisdom. Finally, what remains is a doleful, frustrated individual individual resigned to his pitiable fate.
KEYWORDS: Bizarre, Episodic, Existentialism, Illusion, Mermaid, Metaphysical, Mulish and Triviality INTRODUCTION Vijay Tendulkar, a leading Indian playwright had been the most influential dramatist and personality in Marathi for the past four decades, having to his credit at least thirty full length plays and t wenty four one-act plays. His contribution to the growth and development of Indian Drama is undeniable. He has never craved for outdated or impossible subjects. Human existence, deep understanding of human psychology and expressing them through drama has been an obsession with him. He prefers restraint and simplicity to excessive freedom and gaudiness. ‘The depiction of life’ in his plays has an invisible but solid foundation in his philosophy of life. The individual existence of man and his social existence, the harmony and disharmony between the two, form ‘the essence of his thinking’. Theme of the Play Th e Cycli st was intended to be Tendulkar’s last play. It was his ultimate comment on himself and the reality
surrounding him. It deftly unveils the complex and mulish attitudes that permeate our middle-class society. This play is quite different from the other plays written by Vijay Tendulkar so far. It is skilfully crafted, uninterrupted piece about the adventure of lif e told through ‘a cyclist journey’. That is why some critics call this play an allegory about the ‘Journey of Life’. Some other critics contend that the play is metaphor of Contemporary Indian realities. Though the theme of the play is complex, he tackles it with a simple form and language-an episodic structure and naturalistic dialogues. Life’s complexity can perhaps be best understood when told in simple terms. The Cyclist is not about one but three journeys- the geographical journey in the protagonist, a historical journey
of the bicycle and a psychic journey of the cyclist submerging into his sub-consciousness. A young man is about to start a “world trip” on his bicycle. There is no specific geographical locale or location in which the play is set, but a place from which he is trying to get away. He dreams of distant lands, oceans and mountains, seeking exotic places, and meeting interesting people. The geographical journey is at the same time the story of the development of bicycle itself. The cycle bec omes the symbol of progress, opening new horizons for society despite all the obstacles placed on its way to stop its advancement.
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The adventure gets darker and darker as the journey progresses, The Cyclist facing ‘difficult elements both natural and human’. It unravels man’s dehumanization through a series of encounters which though often extravagantly comic, tend to become illogical and bizarre as we move deeper into the play. On the surfaced level, the cyclist seems to be the fantasy of a youth who nurture the dream of encountering the world and each turn of j ourney as a mode of obstacle gives an insight into the horrible reality of the world. “Where I came from, where I am going” (p.7) reflects in the mind of the cyclist. At this point Tendulkar himself too reflects on the journey of his life that partially has been completed and partially yet to be completed before death. Like Tagore’s “Post Office” and “The King of Dark Chamber”, the hum an consciousness becomes the battle ground for the counteracting forces in the cyclist. A serious subject has seriously been handled by Tendulkar to draw serious conclusions about the triviality of human existence. Structure of the Play
Originally the play was written in Marathi under the title ‘Safar’. Later it was translated into English and was first performed in English on 7th August, 2004 at the Har Burrton centre in Toronto, Canada. The central character, an enthusiastic youth, sets off on an itinerary around the world on his bicycle. Specific names of places and locations are kept hidden, the idea conveyed being that the young man endeavours escaping from his present location, looking forward to visiting distant lands, touring to exotic places enabling him to meet a large number and a different variety of people en-route. Not only is the journey of the cyclist symbolic but also are the other characters which are provided symbolic names such as X, Y, Z or titles such as ‘Ma’, ‘Pa’, ‘Lion’, ‘Ghost’ etc. And even the central protagonist, the cyclist i s neutrally called the Main Character. The play lacks strong women characters and the only one, a Mermaid is not entirely human. Action of the Play Journey’s Aim
The play ‘ The Cyclist ’ begins in an unconventional move where only one cycle covered in white sheet is placed in the middle of the stage. It has pedals, a speedometer and a bell but it has no wheels. The presence of the cycle suggests that it is going to be a central metaphor in the pla y but the idea of the cycle without wheels is a suggestive symbol to decode the illusions existing within human consciousness. The main characters appear with all the initial paraphernalia that is needed for embarking on the journey, with all curiosity and excitement, he observes the different parts of the cycle. For him the journey is well calculated. With some efforts he pulls his heavy backpack from his shoulders. From the backpack, he takes out a banner with three XXXs marked on it and next to them. Expedition/Trip 200
He unfurls the banner on the handle of the bike. Addressing to the audience, he unveils his mind regarding the fears of journey and affirms that in every journey one has to encounter obstacles and imperfections. He admits that the incompleteness and imperfections proclaim ‘the need of perfection’. It reveals individual’s inner strength of mind and it contains the possibilities of adventure and excitement. The three banner journey refers to the three dimension of human consciousness-Geographical, historical and the Meta physical and they contain the reflections on three dimension of time Past, Present and Future. Main character’s idea of exploring an island, a sub-continent and a continent across the ocean and to find but unexplored places-mountains, deserts, water etc., is suggestive of infinite and imperishable quest of man to discover the secrets of nature. He also intends to explore other things like arts, crafts, books, languages, hot dogs and
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several other unfamiliar tacos. He states, “My dream voyage is about to be fulfilled, I am thrilled. Many years ago, I had dreamt this dream…. That I should pick up a cycle, the bicycle” (p.7). Now he recalls how his Ma and Papa were his exclusive support and they let him not to compromise with the injustice of outside world. For him, Ma and Papa are the symbols of wisdom. Amma is apprehensive about the growing terrors in South while Papa warns him against Tigers and Naxalites. Papa fears of the traps of corrupt politicians. Both Ma and Pa with this apprehensive realization of deserts, mountains, Talibans, floods of Assam, earthquakes in Gujarat, drugs and AIDS make survival difficult. They suggest that the only possible remedy to avoid their terror is to remain confined to self-carved and self-protected home spaces. The reference to various distinctive types of perils in ‘ The Cyclist’, suggests Tendulkar’s innate awareness of the post -modern scenario of destruction ideologies and the mission to seek t he consistency of human will against them. Confusion of the Main Character
The main character is looking forward beyond the dreams and expectations of the parents. He desires to construct his own identity. The two divergent visions emerge before his eyes are- the dream of existence beyond the protection of t he parents, and the quest to investigate the mystery of the world. Then his consciousness divides between the burden of illusion and reality and still the contentment is with him, “The dream is being fulfilled”. At mental level, he withdraws himself from the bondages of home and the pressure of the blessings of the parents. With this withdrawal, the twin fields of nervousness and excitement go together. Then he finds three roads and he finds confused to pursue the right track. This confusion of the main character denotes the confusion existing at the centre of human existence. The divergent ways signify the limitations of human will. Encounters
The main character encounters a passer-by and tries to seek his advice to solve his problem that is, guiding his way. He declares that all the three roads may lead him to his destination. But he has to choose one. This enigma makes him difficult to make right choices. The main character does not like to be disturbed by the passer-by. The confusion of the Main Character exposes that A man can’t liberate himself consciously from the shakles of the worldly affairs that is a part of the great scheme of things. The interrogation of the traveller with his own conscious conceals the idea of man’s eternal ignorance about the mystery of universe. He asks, “Am I back where I started from?” His apprehension of getting into muddle becomes true with his entanglement with the chaos of the crowd who alleged him of killing their Murgi. He was ultimately forced to pay a penalty of hundred rupees for no fault of his own. During this journey, he came to know that Kirkpatrick, a blacksmith built the first cycle. After this bittiness of encounter with the crowd, he again resumes his spirit and confidence. Romantic Dreams
Now he finds himself lost in the romantic dreams. He gets beautiful scenery before his eyes. The Sun is ready to set over the blue hills in the west. The Sky is dropped in crimson red. The birds are returning to their nests. This diversion was only a temporary relief to the traveller. However, soon he was caught by two lords- the lord of heaven and the lord of earth who consider him as trespasser. He was given 10 years of imprisonment without caring for his idea of world tour. It indirectly denotes the encroachment on the resources of nature and man’s passion to co mmercialize the resources of nat ure. In one more encounter, the cyclist comes across a bandit who wants to rob of cyclist’s alarm clock instead of his precious valuables. It is like a comic scene. During this scene, the cyclist gets rid of his nervousness and gathers confidence to continue his journey with a new vigour of life.
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The next encounter of the traveller is with the Lion in the jungle. With his practical wit, he gets success from the clutches of the Lion. After his escape from bandit and Lion, he decides to record his experiences in his travel book. As soon as he decides to write in the moonlight, a ghost comes in his way. It is a cemetery area where the ghost lives. It is a cremation ground. Bodies are being waited to be cremated in tombs. The idea of the tomb creates a terror in the heart of Main Character and he tries his best to get rid of that ghost. The ghost reveals that he is an actor politician. He further invites the Main Character for the wrestling. But he is unprepared for this p hysical encounter. It is like a comic scene. With this, his dream breaks and he becomes restless to seek the help of his father. Father again warns him that such perils are inevitable in such a journey of life, with the perish of the image of darkness night, he finds himself in a state of trance. The cock crowed. So it is good morning. That means the first night of dramatic journey is completed. Physical Hurdles
It is another beautiful day with the bright Sun, the blue Sky, the hills and the river. T he traveller (Main Character) organizes his journey with the assumption that human will has its own alchemy that struggles to make way, against all sufferings and misfortunes. The fearful encounter with different unanticipated objects can’t subdue his spirit. Like an epic hero, he moves further. There is thunder, storm and lightening but he accepts them as his challenges and declares the autonomy of his spirit, “I will go! Forward the whole world, the universe” ! (p.33) In spite of the sublimity of spirit, he is fully drenched with the splashing of water; it becomes impossible to move on the cycle. He moves further, takes off his shirt, wrings it dry, then his shoes and pours water out of them. His socks are wet and he throws them away. It echoes the idea of the shattering of ego to face the naked reality surrounding him. He finds himself battled with the end of storm. The heroism and the exceptional strength of his will consist that all external impediments fail to overpower him to subdue his spirit. Main Character with exceptional solace feels the consolation of his own mental triumph over the man-made and nature-made obstacles. Last Encounter
The play lacks strong women characters and there is only one, a Mermaid who is not entirely human. The Main Character’s last encounter is with the Mermaid (a wo man with fish’s torso). It denotes surrender of his masculine ego against feminine self. The Mermaid seduces the cyclist by swallowing his wet clothes hoping that the cloth in her womb will gestate into a lovely child after nine months. Unable to retrieve his clothes from the Mermaid, the cyclist ultimately curls in a womb like position and falls asleep besides his bicycle. Though he is determined to overcome obstacles but shaken by his encounter with the Mermaid, he recalls Pa’s statement that when solutio ns for problems are evasive, one need not do anything suggesting the message of willingly surrendering to the supreme forces of destiny. There is no conclusive end in the play but a roundabout exploration in which the search is not in the outside world but within one’s own consciousness. For Tendulkar this destination of human desires is not the negation of human will but it is true celebration of the triumph of human will against natural oddities. Critique: Soon after the publication of ‘ The Cyclist ’, Tendulkar was asked many questions regarding its themes,
his only comments being that the themes of his plays originate from the reality around him and that his plays speak for themselves. ‘The Cyclist’ is Tendulkar’s ultimate affirmation of the sublimity of h uman spirit. The cycle without wheel denotes that time moves on but human spirit has to wait for its survival within this structure of the world. The play ‘The Cyclist’ reflects post -modern trends. The reference to the idea of terrorism, ecological disorder and sensual seduction in the play are some examples of these trends. The pattern of the images conceived in the texture of the
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play ‘The Cyclist’ shows the significance of Past, Present and Future. For its richness of thought, sublimity of vision and witty scenes, the play ‘The Cyclist’ has become the unique of Indian English Literature. It is also a timeless manifestation of Tendulkar’s excellence as a dramatist at the global level. The synthesis of social, psychological and philosophical reflections on the predicament of man imparts a rare sublimity and richness to the whole dramatic performance of the play. Tendulkar has provided just an exercise bike as stage property. The dialogues are superbly constructed. The play exhales a breath of existentialism with a positive inference that stoic stubbornness leads to success. The existentialists, whether cynical or optimistic, agree on one point that in spite of everything, life does not cease to exist, new generations crop up and the cycle of pain and pleasure, suffering and gaiety, adversity and prosperity continues. This belief of the dramatist is disclosed through the child whom the Mermaid hopes to bear. It is immaterial whether the cyclist stays with her or departs; equally meaningless is the thought of his death because she contains within her womb the seeds of the future generations proclaiming that human life will resist extinction. Thus, the play is a fine portrayal of the complexities of human character.
REFERENCES 1.
Vijay Tendulkar, “Collected Plays in Translation” New Delhi, Oxford University Press, 2004.
2.
Vijay Tendulkar, ‘A Testament’ in “Indian Literature” no.147, Jan -Feb 1992, (Sahitya Akademi, New Delhi, 1992).
