Girish Karnad’s The Dreams of Tipu Sultan :

A Critical Introduction Shri. R.B.Chaugule.

M.A.M.Phil.

Dept. of English

Kankavli College, Kankavli.

Dist- Sindhudurg

Pin- 416602

A recipient of the Jnanpith Award, an actor, a film producer, a very significant

playwright of post-Independence Indian literature, Girish Karnad is one of the torch bearers to

Indian dramatists. His unique command over his dramatic material has made him one of the

outstanding playwrights of India. He is one of the most prolific writers in India writing in

Kannada and translating his own works himself into English later on. He was a Rhodes Scholar

at Oxford (1960-1963) and a Bhabha fellow (1970-1972). He is the most celebrated personality

among the Indian dramatists. Karnad is a man of versatile genius and he was born at Matheran

near Mumbai in 1938.

Karnad upholds the rich cultural heritage of India and uses myths, traditional stories

and the characters from History in his plays. He takes efforts to fight the legacy of colonialism

by advocating Indian values and cultural ethos of India. We can categorize his works in the

following manner

Myths Histories Autobiographical

Yayati (1960) Tughlaq (1972) Broken Images

Hayavadana (1975) Tale- Danda (1993) (2005)

Nagamandala (Play The Dreams of Tipu

with a Cobra) (1990) Sultan (2004)

The Fire and the Rain

(1998)

Bali: The Sacrifice

(2004)

Flowers (2005)

All these plays are written on Indian background. His play Driven Snow (1977) is on non-Indian

location.

Besides creative writing he has translated a well known play Evam Indrajit by Badal

Sircar.

Karnad treats History as myths and instead of writing factual historical plays he reshapes

the situation symbolically and comments on the contemporary issues. His Tale-Danda and

Tughlaq are best examples in this case. The Dreams of Tipu Sultan is one of the historical plays

written by Karnad. This play is written by Karnad in English at the beginning and later on it is

translated into Kannada, the reverse process of regular practice.

Karnad chooses the historical figure of Tipu Sultan “Tiger of Mysore” as his subject for

the play. On the occasion of fiftieth anniversary of Indian Independence B.B.C. Radio

broadcasted this play. He has written the play keeping in mind the requirements of a Radio play;

still the play has got all other qualities which are essential for staging the play. The play was

staged on 17th February 2000 by the Madras Players at the YMCA Amphitheatre, Chennai. Even

the play in its Kannada version was staged on 15th, 16th and 17th May 2004 at Dariya Daulat,

Srirangpattanam, where Tipu’s body was interred and later from 21st to 25th May at Rangayan

Mysore on the 200th Death Anniversary of Tipu Sultan.

Tipu Sultan was killed on the battlefield on 4th May 1799 but the play begins in 1803.

Four years have passed. Colonel Colin Mackenzie visits the house of Mir Hussain Ali Khan

Kirmani who has been appointed as a historian by the English. Kirmani was in the service of

Tipu Sultan and he has seen the life of Tipu very closely. Kirmani says that though four years

have passed there is no healing.

“True, the blood and the tears dried up a long time ago. But the wound remains fresh.”1

It indicates that Kirmani loved Tipu truly. His far too obsessed with his death, not death, the way

he was destroyed. Kirmani spent his life in serving Tipu and his father Haidar Ali and now he is

serving the English the enemies of Tipu. This disturbs Kirmani. What does that make him, a

traitor? Kirmani talks about the letter given to him by Tipu before going to tha battlefield.

The play The Dreams of Tipu Sultan is divided into two acts. There is constant flux in

between dream and reality. Though technically Karnad has not divided the play into scenes there

are various scenes in the play. The scenes shift from one place to other and from one time to the

other. The time moves from present to the past and vice-versa. Karnad’s instructions in the Note

to the play suggest that the dreams scenes are to be staged as realistically as possible without the

use of mask, special lightings or costumes and the scenes must follow each other in rapid

succession.

The next scene is battlefield and takes us to the night of fourth of May 1799. The battle

has come to an end and Tipu is killed. Mark Wilks and his soldiers are searching for the dead

body of Tipu. Tipu’s servants are brought in to help identify his body. But they identify a dozen

corpses as the Sultan’s. They make the English troops fool. Colonel Arthur Wellseley says that

they have got to decide whether Tipu is dead or in hiding or has run away before they can take

the next step. At last it is Nadeem Khan, Quiledar, the Manager of the fort helps the English

soldiers to identify the body of Tipu Sultan. Wellseley mentions him as the ‘Tiger of Mysore’.

The body of Tipu is not honored properly by the English soldiers. One of the soldiers takes a pen

knife from Mackenzie and chops off one of Tipu’s mustaches.

Next scene is once again Kirmani’s house and he is talking with Mackenzie. Kirmani

says,

“So the Tiger of Mysore had at last been hunted down and the first solution he received from the

hunters was to have his whiskers chopped.”2

Kirmani later narrates the injustice done to the Indians.

“Every house was looted. Every available woman raped. Soldiers throwing away precious

jewellery because they could not carry any more.”3

He also adds,

“Doors and windows in the city had already been torn down by the British soldiers. Most houses

were roofless. And now, through the night, the rain lashed with a fury that made the soldiers’

rampage seem like child’s play. It destroyed all my papers. Wiped awar every word written in

ink. Within a night, all my recorded facts became memory.”4

Karnad has narrated atrocities done to the Indians by the British during the battle.

In a very inhuman manner the Indians were treated by the British soldiers. Kirmani mentions

about the dairy written by Tipu. Before the touch of Munshi Habibullah the dairy was a sacred

thing. Kirmani is of the opinion that the Munshi should have burnt it down. But as he was a fool

he did not do that. Tipu is in the habit of writing his dreams in the dairy. There are some blank

pages also, and these blank pages raise curiosity in the mind of Kirmani.

The following scene is but a dream of Tipu Sultan. When Tipu is returning from

Farrukhe near Salamabad he sees this dream. In dream Poornaiya, the Finance Minister, is

accompanying him. They see a big temple and they go inside to see it. There are strange figures

in the temple. There are stone images and they are moving their eyes. Out of these images two

women rise and say that they are seeking for their salvation. They want total isolation. Tipu gives

orders to repair the temple and these seekers after God are not to be disturbed. This shows Tipu’s

respect for worship and his secularism. Out side the temple they visit two old men. These are the

envoys of the Emperor of China. One of the envoys tells Tipu that the Emperor of China has sent

a white elephant and the horses as token of love of his friendship and affection for him. He also

adds that this sort of present he has sent only to the great Alexander. Tipu, when arises,

interpretes the dream as God Almighty and our prophet will make him another Alexander.

After the dream scene the scene of the play shifts to Diwan-i-khas. We see Tipu with

Pornaiya and Mir Sadiq at his conference. He is discussing commerce and other factors

regarding his state from Tipu’s dialogues we come to know that what is needed for the state from

the outside and what is available in his state for the trade. He says,

“We need glass. We need guns. We need cannons. Shall we keep buying them from abroad?

Even for that we need money. And shall we be content with the pittance we get by taxing our

businessmen when we have ivory and sandalwood freely available? Can an individual trader deal

in sandalwood? For centuries we begged and borrowed silk from the Chinese. And everyone

predicted disaster when I got a few eggs from China. And now we have flourishing industry of

our own. Shall we seat back like the stupid Nizam and the Marathas who continue as though the

English never existed?...”5

This indicates that Tipu is conscious about the existence, power and strength of

English in trade. As a father Tipu loves his sons and he makes his sons aware of what and how

the things are going in the state. When the things are being discussed Tipu comes to know that

one of his tigers is restless and he orders his servants to feed more to this Bahadurkhan as he is

growing up. Tipu takes care even of his tigers in a proper manner. Tipu is sending his

representatives to France. He wants to make aware the King of France that if the French don’t

wake up, the English will gobble up the whole of India. He wants to change the face of India

with the help of French soldiers. He just doesn’t want ten thousand soldiers but also craftsmen

who could make guns, cannons and pistols. Tipu is too conscious about the increasing power of

the British in India and in order to face the encroachment of the English in his state he wants all

these armory of soldiers. He tells his men to bring a doctor, a surgeon, a smelter, a carpenter, a

weaver, a blacksmith, a locksmith, a cutter---. He tells his men to bring a thermometer also. All

these things indicate that Tipu wants to make his state a complete in it. He accepts the new

discoveries and inventions and welcomes then to his state. He also intends to translate a book on

medical science in Persian language.

Tipu admires the good qualities of the British people. He advices Mir Sadiq that when

he feels lazy or despondent he should think of the John Company. He knows that these peoples

after fifty years of trade are threatening Indians due to their passion for trade. He is aware of his

sons’ studies and tells them that if they want to be successful kings they should study. When

Poornaiya informs Tipu about a treaty signed by the English and the French that they will not

enter into the local affairs in India Tipu tells him that the English and the French are neighbours

and they can’t be friends forever. They are bound to start quarreling. Tipu knows as Lord

Cornwallis is appointed as the Governor General of India the English do not want peace in India.

Once again there is a dream of Tipu shown by Karnad. Tipu sees a fair skinned and light

eyed man (a woman disguised as a man) approaches him and praises Tipu’s handsomeness. Later

Tipu comes to know that the person who has approached him and a appreciating him is a woman

disguised as a man and Tipu asks her to quit.

Tipu interprets this dream as though the Marathas are dressed in male attire; they will in

fact prove to be women.

The next scene is the Maratha court in Pune and Nana Phadanvis, the Maratha statesman

is talking with Charles Malet, representative of Lord Cornwallis. Malet has come to give

assurance to the Maratha rulers that they are the good friends of theirs’. But Nana Phadanvis is

wise politician and he suspects the intensions of the English. He is worried about the policies

implemented by the British regarding Scindia, the Maratha chiefs, the Nizam of Hyderabad, the

Nawabs of a Carnatic and Oudh, the Rajahs of Travancore and Cochin. When Nana mentions the

name of Tipu, Malet says that the English are having a little trouble with him. Nana is disturbed

with the Treaty of Perpetual Peace in between Tipu Sultan and the English. Nana says,

“---I’m sorry, but your ‘friends’ are a bunch of nincopoops. Tipu is worth a hundred of Nizam,

who is nothing but a whining little limpet. I must accuse you English of duplicity-”6

Nana informs Malet that the Marathas also have signed a Treaty of Perpetual Peace

with Tipu Sultan and the Marathas have more regard for their own word than the English seem to

have for theirs. Nana adds that Vakil of Tipu Sultan is waiting outside and to talk with him is

more preferable. Malet’s intension is different. As he comes to know that he is not being

successful in convincing Nana he changes the subject and asks Nana to talk about the facts. He

adds that as Tipu is giving trouble to Rajah of Travancore who is a friend of English. But Nana

says that the Raja of Tiruvindakoor is mischievous little rat. Nana says that if the English fight

with Tipu the Marathas won’t mind. Malet uses his last weapon and says,

“Except for the vast Maratha territories which his father grabbed unjustly and which Tipu still

retains. (pause) May we point out that when Tipu made his peace with the Marathas, he returned

all his recent acquisitions but not his father’s? While the bravery of Marathas is known the world

over, so, Sir, is Tipu’s. If the Marathas ever face Tipu alone, its likely to be a stalemate

again…”7.

Nana dislikes the strategy and responds that the Marathas are in need of the English.

Malet says,

“…the Marathas, the Nizam and the Honorable Company declare war independently of each

other. Then will be no open collaboration. We attack from three different directions-separately.--

- The Governor General hopes that the Maratha chief will use this opportunity to obtain

reparation and recover the territories seized unjustly by Tipu Sultan’s father Haider Ali, and will

join us in punishing a man who we believe is the enemy of all mankind.”8

Malet has become successful I putting poison in the mind of Marathas. The English

used the policy of Divide and Rule in India and became successful in ruling India.

The next scene shifts to the inner chamber of Tipu’s palace. We see Tipu with his queen

Ruqayya Banu. Offstage we get the sound of boys playing with mechanical tiger and we listen to

the life like screams of a human doll. Tipu is talking with Ruqaiyya about politics and the

English. Though he hates the English, Tipu has learnt many things from them. He says,

“---I have two teachers in my life. My father, who taught me war, and the English, who taught

me trade. They taught me that the era of camel is over, that is now the age of sailing ship.---”9

Tipu informs to Ruqaiyya that he has refused the English to have their Resident at his

court. Tipu is aware of the strength of the Indian soil and the follies of Indians. He says,

“This land is ours and it’s rich, overflowing with goods and world hungers for, and we let

foreigners come in and rule us of our wealth. Today the Indian princes are all comatose, wrapped

in their opium dreams. But some day they’ll wake up and throw out the Europeans.---”10

Tipu tells Ruqaiyya about his policies regarding Marathas. He says,

“---Only Mahadaji Shinde understands the English. The Marathas of Pune are coy, flirtatious,

and unreliable. But I need their help, so I have made peace with them. So long as they keep out

of this conflict- and I have returned the territories I have conquered from them-I’ve nothing to

worry about.”11

But at the same time Hasina comes and informs that the Vakils of tipu Sultan have

been driven out of Pune. The English have succeeded in their manipulation. The Marathas too

have declared war against Tipu.

Once again the scene shifts to Kirmani’s house and we see Mackenzie and Kirmani are

talking about the war between Tipu and the English. Mackenzie says,

“In 1790, Lord Cornwallis invaded Mysore. The Nizam and Marathas launch the parallel attacks.

A sea saw war stretched over two years, with no end in sight…”12

Kirmani adds, “But on the return journey, the English forces ran into the Marathas

with their abundant supplies. The two joined forces and attacked Seringapatam, and Tipu was

forced to sue for peace. The English became successful in their plan. The act one comes to an

end here.

The incident which took place on 23rd February 1792 are shown at the beginning of

second act. The square in front of the big mosque in Seringapatam, packed with senior citizens,

generals and courtiers. Poornaiya addresses the nobleman and he informs that senior hakim has

come to attend the Queen. After some time Tipu joins the meeting and addresses the noblemen

and makes them aware of the situation.

“--- The enemies hold our city in a python’s embrace---We have three enemies-The English, the

Marathas and the Nizam---.”13

He and Poornaiya tell them about the condition laid down by the English.

1) All English prisoners taken by his majesty as well as his father, Haider Ali, to be released

unconditionally.

2) Cession of half of our domain adjacent to the territories of the English, the Marathas and the

Nizam.

3) An indemnity of six crores.

4) The hostages to be handed over to the English to be kept with them until the terms of treaty

are duly fulfilled. Two of Tipu’s sons.

When the mob listens to the conditions they are disturbed. Some talk of the war,

because the conditions are outrageous. But Tipu accepts the conditions of the English as he does

not want the destruction of his city. He is very angry with the English but he is helpless.

“This is the new language that has come into our land: English. This is the culture of that

language: English. Boys of seven and eight as hostages of war.”14

At the same time Tipu is sure that the English will not harm his children for there

is no financial profit in it. But he is worried about the danger that they would teach his children

their language, English. The language in which it is possible to think of children as hostage. So

Tipu agrees the conditions and wishes to conclude the treaty in a hurry before his children have

learnt to think in those terms. The decision is told by Tipu to the crowd and the crowd departs.

When Mir Sadiq, Poornaiya, Nadeem Khan, Ghulam Ali Khan and Qamaruddin get up to take

leave Tipu gestures to them to sit down and tells them that the Queen Ruqayya Banu is no more.

He tells them that he is lucky because she died without knowing he had bartered her sons for his

kingdom. Tipu loves his sons very much but he is helpless. He tells Ghulam Ali Khan to

accompany his sons,

“I don’t want my babies to feel their family abandoned them totally- although that’s what it

amounts to finally”15

He expects that the British should treat his sons properly. He wants to cover up

his own sense of shame by sending the sons out as heroes.

The next scene takes place in the inner chamber of the palace. In the scene we see that

Ghulam Ali Khan convincing the sons of Tipu Sultan to go to the troops of the English as their

guests. Muizuddin and Abdul Khaliq. The sons of Tipu are convinced by Ghulam Ali Khan. It is

a test Ghulam Ali and he becomes successful in it.

The next scene is at Diwan-i-Aam and Tipu is with Kirmani, Poornaiya and Mir

Sadiq. Tipu is eager to know what happened when his sons were taken to the English camp.

Kirmani narrates the procession of Tipu’s sons and how it was led by camel harakaras and

standard bearers- followed by a hundred lancers with spears invalid with silver-entered the

English camp and how they were taken these on caparisoned elephants. He also tells Tipu that

princes were received with a twenty-one gull salutes and Lord Cornwalllis took each prince by

hand and sat them down on the right and left of their chair. When Kirmani narrates all these

things Tipu is psychologically disturbed and says,

“Oh God! God! Why didn’t I die before I heard these words? Ruqaiyya Banu , why didn’t you

take me with you? How did I come to this?”16

In order to show his gratitude towards the English for receiving his sons by giving them

warm welcome Tipu asks to fire a salute to the English and send the English a crore and half as

the first installment of the payment.

After a meeting Tipu moves to remove his bed he says that which his sons are in

foreign hands, he shall sleep on the bare stone floor.

Next scene is dream of Tipu once again. In his dream his father Haider Ali has

come to meet him. His father tells Tipu that he is maimed and he has no limbs, they are cut and

handed over to the enemy. This dream is also symbolic. Tipu has returned the territories which

his father has won from the Marathas. He says that Tipu spends too much time with his account

books. Tipu tells his father that English are stronger than his time. Haider wants to know why

Tipu let Cornwallis escape. Tipu says,

“---Father, often, suddenly, see myself in them-I see these white skins swarming all over the land

and I wonder what makes so relentless? Desperate? Most of them are no older than Fat Haider.

What drives these young lads so much distant lands threw fever, destiny, and alcohol-.”17

Tipu likes the mentality of the English soldiers. He says that there is never any treachery

against own kind, no back-stabbing. They believe in the destiny of their race. The English fight

for something called England. It is just a dream, for which they are willing to kill and die. Tipu

assures his father that he will do something to restores his limbs.

The next scene opens in the Maratha camp. Hari Pant Phadake and Tipu discuss over

the political issue. Tipu asks why the Marathas helped the English in attacking him. Hari Pant’s

answer is the Nizam stood by the English and the Marathas were outvoted. According to Tipu

the Marathas are the real victors and they shoul not have allowed the English to dictate the terms.

Tipu advocates his friendship with the French because they are not dictators like the English.

When Hari Pant advocates Cornwallis and expresses his satisfaction for the share, the Marathas

have received. Tipu says,

“---The share that you’ve been given is what my father have won from you Marathas forty years

ago. What you have got is only a restitution of your earlier possessions. And in return you have

given the English new territories: Salem, Dindigul, the Malbar Coast with its coconuts and a

pepper and its magnificent ports. You are back where you were while the English now have the

entire cost line of India. And remember they are a sea faring power…And instead of keeping the

English out, you’ve permitted the shark in to your water and are trying to swim along with it.”18

Tipu gives the example of Raja of Tiruvindankoor to Hari Pant and says that he has

been thrown on the dung heap. He makes Hari Pant aware of the policy of ‘Use and Throw’

observed by the English. Tipu expresses his brief to Hari Pant regarding his sons as they have

been kept by the English as the prisoners of wars though they are edged seven and eight. Tipu

knows why Cornwallis has saved him because without him in South India the Marathas would

become too powerful. He warns Haripant that perhaps it will be the turn of Hari pant’s children

next time.

Once again the scene shifts to Kirmani and Mackenzie. Kirmani tells that Tipu’s sons

were restored to him. Mackenzie tells that Lord Cornwallis was succeeded by Sir John Shore and

there was peace for seven years and then came Richard Wellesley, the Second Earl of

Mornington.

The incidents which took place in 1798 in Calcutta are shown in the next scene. We

see on the stage Richard Wellesley, his younger brother Arthur Wellesley and Colonel William

Kirk Patrick. Mornington is of the view that they have to liquidate Tipu. He is of he opinion that

when Tipu sought help from Nepolian at that time only serious action would have been taken by

them. This was a sort of flirtation against the British and it should not be tolerated. Mornington

says,

“Tipu is building a trading empire on the European model and succeeding imminently. We have

driven the French and Dutch out of India, contained the Portuguese. Is there any reason why we

should tolerate an upstart native? The longer the peace, the stronger will Tipu becomes.”19

Kirk and Arthur Wellesley are surprised with the opinion of Mornington. He wants

to spread a rumour that Tipu has asked the French Governor of Mauritius Malarctic a dispatch of

Ten thousand French and Twenty thousand African troops. He also knows that as Tipu had

peaceful relations with the English for the Seven years he will not expect them to declare war.

Mornington asks Kirk to tell the Nizam and the Marathas that the English expect their presence,

though it scarcely matters. He knows that Baird is keen to lead the assault against Tipu, as he has

been a prisoner of Tipu and is eager to avenge himself. Mornington wishes his entire army to

throw against Tipu He tells his brother Arthur Wellesley that he should take the command of

Seringapatam after the battle.

The next scene is at Diwan-i-Aam. We see Tipu with Mir Sadiq, Poornaiya,

Kamaruddin and Nadeem Khan. Tipu informs these people about the new demands of the

English.

“And now the have asked for four of my sons as hostages. And half of my Kingdom again-half

of the half they left me last time.”20

Tipu knows why the English behave with him in this manner.

“I knew the English wouldn’t like my extending hand to the French, so what? Shall I spend the

rest of my life looking with Anxiety at the English for smiles of approval or frowns of

displeasure? Today I am the only one in India who won’t bow and scrape before them. So they

want to crush me. I’m told Engalnd is buzzing with stories of what a monster I am and how I

need to be chastised.”21

Tipu wants to create confusions in the mind of English by accepting the terms. But other says

that instead of accepting the conditions of the English they will fight the English to the bitter end

and to the last drop of their blood.

But the tragedy is there that we find later on that all these persons have turned into

treacherous.

Kirmani tells that the English surrounded the Fort of Seringapatam on fourth May

1799.

The very night Tipu sees his last dream. In his last dream he sees that everybody is

reporting him the good things happening in the case of his state. Poornaiya reports that the nine

planets have been placated and offering made to the guardians of the eight directions. Even the

cannons are accurate and have an extraordinary range. Mir Sadiq reads a letter sent by the Nizam

who has seen his folly in backing the English. Even the Marathas have decided to throw in their

lot with Tipu. Qamuruddin reports about the withdrawing of the English. Tipu orders to call

entire zenana out to celebrate the victory. This is the last dream of Tipu Sultan. All these things

take place in his dream. The reality is different. In the last scene of the play we see again

Kirmani and Mackenzie talking about the defeat of Tipu Sultan. Kirmani tells Mackenzie how

Tipu was defeated. On that very afternoon Tipu Sultan is killed on the battle field. Mir Sadiq

conducts treachery and is lynched by his own troops. Nadeem Khan takes his troops away from

the battle field. Poornaiya slips with alacrity into the post of Prime Minister under the new

regime. Qamaruddin is by his side. The battle of Seringapatam is lossed before it has begun.

Mackenzie tells about how the tigers are killed the very next day and the mechanical tiger is

taken away to England. Tipu Sultan’s sons are moved out of Seringapatam and end in Calcutta.

Karnad has written a Post Script for this play, in that he mentions the tragedy of the

descendants of Tipu Sultan. The play takes us to the time of Tipu Sultan and narrates the tragedy

of a wise King. The play ends with

“It was not Tipu’s dreams but his predictions that came true.”22

“The treachery and deceit of his own nobles which led to the fall of the Seringapatam Fort and

Tipu’s subsequent death certainly add the element of tragedy that surrounds the legend of Tipu

Sultan”23

It is the tragedy of an Indian Hero though he was conscious about the encroachment

of the colonists. The tragedy takes place not due to the English people only but the treachery

committed by the Indians is responsible for the fall of Tipu Sultan.

References

1. Karnad, Girish (2005) Collected plays. Oxford University Press, Delhi. p.181

2. Ibid. p.188

3. Ibid. p.190

4. Ibid. p.191

5. Ibid. p.196

6. Ibid. p.205

7. Ibid. pp.206,207

8. Ibid. p.207

9. Ibid. p.209

10. Ibid. p.210

11. Ibid. p.210

12. Ibid. p.211

13. Ibid. p.213

14. Ibid. pp.216,217

15. Ibid. p.218

16. Ibid. pp.222,223

17. Ibid. p.225

18. Ibid. p.228

19. Ibid. pp.230,231

20. Ibid. p.234

21. Ibid. p.234

22. Ibid. p.239

23. Grace, Sudhir. (2006) “On the Wings of his Dreams: Re-Viewing the Legend and

History of Tipu Sultan” in Tutun Mukherjee: Girish Karnad’s Plays: Performance and

Critical Perspectives. Pencraft International, Delhi 2006.

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