Published Paper Details:

Girish Karnad's Tughlaq (1964) stands as a landmark in Indian modern drama, offering a richly layered portrayal of Sultan Muhammad bin Tughlaq as a tragic hero deeply rooted in both classical and contemporary frameworks of tragedy. This research paper aims to analyze Tughlaq's character through the Aristotelian lens--where the protagonist's downfall is triggered by a combination of a tragic flaw (hamartia), excessive pride (hubris), and the inevitable consequences of fate--while also incorporating modern interpretations of tragedy that focus on psychological depth, moral ambiguity, and existential struggle. Tughlaq is presented as an idealist and visionary ruler whose intellectual brilliance and dream of a just, secular state soon unravels into chaos and tyranny. His failure is not only political but deeply personal, as his aspirations turn into disillusionment and paranoia. His hamartia lies in his detachment from the realities of governance and his overreliance on rationality, which blinds him to human emotions and practical limitations. This descent evokes pity and fear, fulfilling Aristotle's tragic criteria. Moreover, the play functions as a political allegory, mirroring the disillusionment with Nehruvian ideals in post-independence India. Tughlaq's trajectory reflects the collapse of utopian hopes and the rise of authoritarianism masked by noble intentions. The paper further draws parallels between Tughlaq and tragic figures like Oedipus and Macbeth, situating him within a global tragic tradition while emphasizing his distinctiveness as an Indian ruler entangled in caste, religion, and power. Thus, Tughlaq emerges as a uniquely Indian tragic figure whose story resonates with timeless questions of leadership, ethics, and destiny.