Analysis Of Mahesh Datttani's Final Solutions

Final Solutions is a stage play in three acts .The play opens with a kind of flashback scene. In this scene we see and hear a fifteen year-old bride Daksha reading out what she had written in her diary. This flashback goes back to the late 1940. Here we simultaneously see and hear Daksha as she has passed nearly fifty years. In the present she is the grandmother known by the name Hardika. Also on the stage, perhaps at the back are present the mob. They were carrying sticks with a Hindu and Muslim mask at either end. These masks cover the faces of the members of the mob as they assume the Muslim and Hindu identities or faces alternatively throughout the action of the play. Daksha’s reminiscence over the mob wearing Hindu masks introduces
This identity is of the Indians in particular, yet universal in appeal. It probes into an individual’s position in the wider historical and social context. At the outset Daksha’s pondering over a day in 1948 brilliantly fuses time past and time present .Thereby, it refigures the past in terms of communicating through the present but the experience is deadly enough. Mahesh Datttani’s Final Solutions is a play about communal riots in India and subordination of women. It presents three women who belong to three significant times in the history of India-Daksha/Hardika belongs to pre-independence period; Aruna, her daughter-in-law, belongs to independence period; Smita, Aruna’s daughter is a contemporary post-independence Indian
At the end of the play, Hardika’s actual hatred of Muslims and Daksha’s complete confinement in the room are two important growing issues in the plot that are linked very wisely. Dattani’s intention of presenting the burning issue in the present world is reflected through the journey of Daksha’s diary in the play. According to Angelie Multani, Daksha’s diary establishes the history of division-the source of ‘us and them’, the link between personal experience and political belief or social hatred.

Dattani has perfectly delineated the hierarchies and networks. Actually, Dattani’s plays always use the family as a central trope. He draws attention to the relationships within the families, and extended families, including friends, neighbours etc. He also highlights the generational gap between the old people and the youth. Through the device of diary Dattani is also able to define clashes and conflicts between tradition and modernity in India’s context. John Mc is full of praise of Dattani’s talents and even relates this to the best dramatic tradition in the world. He says, “The starting point for many of the greatest plays is the