Do you agree with the view that all Dattani characters speak the same homogenised convent English? Discuss Dattani’s use of English in Tara
Mahesh Dattani is one of India’s most important playwrights writing in English. His play Tara deals with complex issues like gender discrimination, family expectations, and identity. Some critics have said that Dattani’s characters all speak the same kind of English—a type of “homogenised convent English.” This means their speech sounds alike, polished, and influenced by Western-style education. But this view may be too simple. Dattani’s use of language in Tara is carefully crafted to suit the setting, characters, and themes. Let’s explore how language works in the play.
1. Understanding “Homogenised Convent English”
This phrase suggests that all characters talk in the same way, using formal, grammatically correct, urban-style English—often found in people educated in English-medium schools. It may seem that in Tara, characters like Tara, Chandan, and their parents use this style of English. However, we must consider the context: the family is upper-middle-class and lives in Bangalore. Their social background justifies this type of language.
2. Language Matches the Characters
Each character in Tara may use English, but their personalities and emotions are still reflected in their dialogue. Tara is emotional and direct. Her brother Chandan, who becomes a writer, is more reflective and poetic. Their father speaks in a more controlled and practical tone. The mother, Bharati, often sounds anxious and nervous. Even though the English they use might sound similar on the surface, their tone, rhythm, and word choice show their emotional differences.
3. Use of Code-Switching
Dattani sometimes uses Indian expressions, names, and references in his English dialogue. This creates a more realistic sound. For example, words like “appa” or “chai” are included without translation, showing how English in India mixes with local languages. This technique, called code-switching, reflects how many Indians actually speak. It breaks the idea that all characters speak one flat, Western English.
4. English as a Medium, Not Just a Language
Dattani uses English to express Indian emotions, culture, and conflict. In Tara, English is not used to sound Western or elite. It is used because it allows communication across Indian audiences. English becomes a neutral ground where deep, Indian issues can be discussed. In this way, the language may sound uniform, but the content is deeply local and rooted in Indian society.
5. Theatrical and Artistic Purpose
Since Tara is a play meant to be performed, Dattani uses clear and understandable English to reach a wide audience. The sameness in language may help keep the focus on the emotions, actions, and conflicts, rather than on accents or dialects. This choice supports the artistic aim of the play, which is to highlight discrimination and injustice.
6. Critique and Counter-Critique
Critics who argue that all characters sound the same may be missing the emotional layers of speech. While it is true that regional or class-based variations are not strongly marked in the dialogue, the characters still have distinct voices through their emotions and reactions. Dattani is more focused on what the characters feel and how they deal with trauma, rather than showcasing language differences.
Conclusion
While it may seem that Dattani’s characters speak in a similar type of English, this is a deliberate choice suited to the setting and themes. The idea that all characters speak “homogenised convent English” is too narrow. In Tara, Dattani uses language to reflect the emotional struggles of his characters, not just their social class. His English is simple, clear, and layered with feeling. It is a tool to communicate pain, love, guilt, and injustice. Therefore, his use of English in Tara is both effective and appropriate for the story he wants to tell.