Girish Karnad’s Tughlaq, first published in 1964, is a powerful historical play that explores themes of power, idealism, ambition, and political failure. It is based on the life of Muhammad bin Tughlaq, the 14th-century Sultan of Delhi, known for his intelligence, ambitious reforms, and erratic decisions that led to his downfall. The play is regarded as one of Karnad’s finest works and remains relevant for its political allegory, psychological depth, and theatrical brilliance.
Karnad wrote Tughlaq in the backdrop of post-independence India, where the early optimism of Nehruvian policies was beginning to give way to political disillusionment. Using historical events, Karnad examines how idealism can turn into tyranny, how power corrupts, and how political failures repeat through history. The play’s themes of manipulation, betrayal, religious hypocrisy, and the cost of utopian visions make it a timeless political drama that continues to resonate with contemporary audiences.
Summary
The play is set in the 14th century, during the rule of Muhammad bin Tughlaq, a brilliant but controversial ruler known for his ambitious policies and radical decisions. His reign begins with great idealism, as he announces religious tolerance, democratic governance, and economic reforms. However, his increasingly impractical policies, impulsive decisions, and cruelty eventually led to political chaos and his downfall.
As the play opens, the reader is introduced to the court of Mohammad Bin Tughlaq. Tughlaq declares that he is shifting his capital from Delhi to Daultabad (also known as Deogiri). Daultabad is in south India and at a long distance from Delhi. He has two purposes behind this decision. First, it will help him to rule over the southern part of India effectively and increase fraternity and unity among Hindus and Muslims, as Daultabad is a Hindu-majority city. Second, it will help him save his capital against the attacks of the Mongols from the north.
A man named Aziz appears in court. Aziz has changed his identity from a Muslim to a Hindu with a definite purpose. Tughlaq is well known for Secularism. Despite being a Muslim Sultan, Tughlaq shows a great heart towards Hindus. He desires to be seen as an idealist who wants a unity between Hindus and Muslims. To win the hearts of Hindus, he favours Hindus more in his decisions and policies. So, Aziz takes the name as Vishnu Prasad, a Hindu Brahmin. He filed a case against Sultan Tughlaq for unfairly acquiring his land. He is given a handsome amount for land acquisition. Later, in his court, he invites the public to settle in Daultabad. He doesn’t force the public but leaves it up to them whether to move or to remain there. With his friend Aazam, Aziz plans to cheat people and get money on the way to Daultabad.
The scene shifts, as now Tughlaq is playing chess in his private chamber. His stepmother appears. She is concerned about his eccentric approach to his administration. It is also revealed that Tughlaq had murdered his father and his brother in the past to get to the throne. She scolds him for his negligence towards the uprising led by Ain-ul-Mulk, an old friend of Tughlaq. Ain-ul-Mulk has now turned into an enemy. He is marching with his thirty thousand soldiers to attack the state. On the other hand, Tughlaq has only six thousand soldiers. If the battle takes place, his defeat is quite sure. His stepmother asks Ziauddin Barani, a historian of that time, to keep Tughlaq away from the company of foolish advisors and councillors.
Sheikh-Imam-Uddin, another character, appears on the stage. He doesn’t like the Sultan at all. He incites the people against Tughlaq for his eccentric decisions. Tughlaq himself is well aware that the Sheikh has ill desires against him. Tughlaq calls him and asks him to visit Ain-ul-Mulk with a peace proposal. Sheikh is requested to be dressed as a royal person and is sent on an elephant. Tughlaq has done this with an intention. Later, news comes that Sheikh-Imam-Uddin is murdered. He was mistaken for Tughlaq by his enemies for his royal dress and riding on an elephant. Ratan Singh reveals that it was Tughlaq’s plot. This incident comes as a first instance of the dark side of his character.
Ratan Singh, Amirs and Sayyids are planning to murder the Sultan as there is no other way left for them to stop his foolish acts. They argue about Daultabad city and its Hindu majority population. They persuade Sihabuddin to join them. But he hasn’t made up his mind yet. They plan to murder him during the prayer. Later, their plan is revealed, they are all caught and receive a death sentence. Tughlaq ordered that their dead bodies be hanged in public. He takes another ridiculous decision to have currency minted on copper and brass metal. Adding more to his foolishness, he declares that all coins will have an equal value, whether made of gold, silver, copper or brass. He also announces a ban on prayers. Even people now start to term him as a foolish Sultan. Now Tughlaq wants to shift there as soon as possible. On the way, many people die of hunger, disease, etc. Aziz appears with his friend Aazam and tells him how to deceive others and extract money.
Now the scene shifts to Daultabad. It is reported that Najib, a confidante and an advisor of Tughlaq, was murdered. His stepmother comes and scolds him that the economy of the state is collapsing as the people have minted so much fake currency in copper and brass. They have exchanged it for gold and silver coins. So his foolish decision is to be held accountable for this crisis. But Tughlaq is frustrated by Najib’s murder. So many people, whoever they suspect, are executed. Finally, it is revealed that Tughlaq’s stepmother poisoned Najib. When Tughlaq discovers this, he orders her arrest. She is stoned to death. All such decisions are presented as the severe frustrations of his mind.
It is announced to the public that when Ghiyasuddin-Abbasid arrives, the ban on the prayers will be lifted. But the people are not interested in it as they are dying of hunger. The life of the common man is devastated. But Tughlaq is preparing for Ghiyasuddin-Abbasid’s welcome. Aziz appears and murders Ghiyas-uddin-Abbasid. Now, Aziz disguises himself as Ghiyas-uddin-Abbasid with a motive to fudge the Sultan. Aziz manages to deceive Tughlaq with his new identity. Later, Aazam is murdered, and somehow, his true identity is revealed to Tughlaq. Now, Aziz tells him everything that he had done in past to cheat him. The revelation of these facts impresses Tughlaq. He appoints him to a powerful position in his court. Having made this decision, Tughlaq went to sleep. When he wakes up, he realises himself as he has gone mad.
Characterisation
Tughlaq presents a complex and layered portrayal of historical figures, most notably the protagonist, Sultan Muhammad bin Tughlaq. The characterisation in the play is both psychologically intricate and symbolically rich, reflecting the tension between idealism and political pragmatism.
Muhammad bin Tughlaq is depicted as a visionary ruler whose grand dreams for a secular and just state are constantly undermined by his flawed methods and impulsive decisions. His character oscillates between brilliance and madness, combining philosophical depth with tyrannical tendencies. This duality makes him one of the most compelling figures in modern Indian drama.
Supporting characters such as Barani (the loyal historian), Aziz (the cunning impostor), and Najib (the politically astute adviser) serve to highlight different aspects of Tughlaq’s personality—his isolation, his need for validation, and his vulnerability to manipulation. Each character is carefully crafted to reflect the socio-political complexities of 14th-century India and to mirror the timeless struggles of power, faith, and disillusionment.
Muhammad bin Tughlaq
The protagonist and Sultan of Delhi, Tughlaq, is an intellectual, idealist, and visionary ruler who dreams of a unified India governed by secularism, justice, and reason. However, his decisions, such as shifting the capital to Daulatabad and introducing token currency, turned disastrous, revealing the gap between his ideals and political realities. He is complex, torn between genius and madness, portrayed as a philosopher-king and a ruthless autocrat.
Aziz
A wily, opportunistic character who impersonates a saint and later a Brahmin. Aziz represents the cunning and adaptability of ordinary people trying to survive in a chaotic political environment. He is a foil to Tughlaq, exposing the absurdities and failures of the Sultan’s rule through deception and mockery.
Aazam
Aziz’s partner in crime, Aazam, is more cautious and moral than Aziz. He acts as a counterbalance, often trying to restrain Aziz’s wild schemes. Aazam represents the voice of reason among the commoners, showing discomfort with the immoral ways they adopt for survival.
Barani
A loyal court historian and Tughlaq’s close confidant. Barani represents the intellectual elite who struggle between truth and allegiance. He respects Tughlaq’s ideals but is deeply troubled by the Sultan’s cruelty and descent into tyranny. His moral conflict adds depth to portraying the court’s inner turmoil.
Najib
A pragmatic and politically shrewd adviser to Tughlaq. Najib encourages many of the Sultan’s controversial decisions, reflecting the manipulative power of bureaucracy. Though loyal, he prioritises state control and order over humaneness and is eventually assassinated, which marks a turning point in the Sultan’s fate.
Stepmother (The Queen Mother)
Tughlaq’s stepmother is a symbol of personal betrayal and emotional estrangement. She tries to act as a moderating influence but is ultimately executed by Tughlaq, showcasing his descent into paranoia and isolation.
Sheikh Imam-ud-din
A religious figure and critic of Tughlaq’s secular policies. He is manipulated by the Sultan and later murdered, illustrating the Sultan’s duplicity and the suppression of dissenting voices.
Historical and Political Allegory
While Tughlaq is based on historical events, it is a powerful political allegory for contemporary India. Written in the 1960s, the play reflects the disillusionment with Nehru’s vision of a secular, democratic India. Like Tughlaq, Nehru was a leader with great idealism, but his policies, particularly his economic and socialist reforms, faced severe challenges and often led to unintended consequences. Tughlaq’s failure to implement his ambitious reforms echoes post-independence India’s political instability and economic difficulties.
Beyond India, Tughlaq also serves as a universal allegory about power, ambition, and the failure of utopian ideals. It raises questions about whether absolute power can ever be used for good, whether rulers can be both visionary and practical, and how leaders often become victims of their intellect and arrogance.
Psychological Complexity of Tughlaq
One of the greatest strengths of the play is its psychological depth, particularly in its portrayal of Tughlaq. He is not a one-dimensional villain but a deeply complex and tragic figure. At the beginning of the play, he genuinely wants to create a just and progressive empire, but his impatience, impulsive decision-making, and inability to understand human nature lead to his downfall.
Tughlaq’s character is filled with contradictions—he is intelligent and naive, visionary and tyrannical, deeply religious yet hypocritical. His prayers and philosophical reflections reveal a man struggling with his failures, but instead of accepting them, he lashes out with more violence and repression. This makes him a Shakespearean tragic hero, comparable to figures like Macbeth or King Lear, whose greatest strengths become their greatest weaknesses.
Use of Language and Dramatic Structure
Karnad’s language in Tughlaq is sharp, poetic, and layered with irony. The dialogues often carry double meanings, where a statement that sounds noble later reveals its deeper political cunning or hypocrisy. The play’s pacing is fast, with continuous shifts between grand political announcements and violent betrayals, creating an atmosphere of tension and inevitability.
The play’s structure moves in a circular pattern—it begins with Tughlaq’s promises of justice and peace and ends with him isolated, disillusioned, and praying to a silent God. This structure reinforces the theme of history repeating itself, showing how power often consumes its wielder.
Themes of Religion and Hypocrisy
One of the most striking themes in Tughlaq is the use of religion as both a personal and political tool. Tughlaq presents himself as a devout Muslim, frequently quoting the Quran and offering prayers. However, his actions are often ruthless, deceptive, and politically motivated. His religious rhetoric masks his deep insecurities and his need to control others.
The play critiques how leaders use religion to justify their actions, a relevant theme in modern political discourse. Tughlaq’s downfall also suggests that blind faith in religious or political ideology can lead to destruction if not tempered with practical wisdom and compassion.
Relevance to Contemporary Politics
Even though Tughlaq is set in medieval India, its themes remain highly relevant to contemporary politics. The play raises questions about authoritarianism, the illusion of progress, political manipulation, and the consequences of misguided policies. From Napoleon to modern politicians, leaders across history have shared Tughlaq’s fatal flaw of being too ambitious without fully understanding the realities of governance.
In the modern world, where leaders continue to make grand promises, struggle with execution, and resort to authoritarian measures, Tughlaq is a cautionary tale. It reminds us that idealism without pragmatism can lead to tyranny and that unchecked power often results in self-destruction.
Girish Karnad’s Tughlaq is a masterpiece of historical drama, political allegory, and psychological depth. Through the tragic rise and fall of Muhammad bin Tughlaq, the play explores the paradoxes of power, the dangers of blind idealism, and the inevitability of political disillusionment. Its brilliant use of symbolism, irony, and sharp dialogue makes it a compelling and timeless work, continuing to resonate with audiences across generations.
