International Journal of English,

and Literature (IJEL)

ISSN(P): 2249-6912; ISSN(E): 2249-8028
Vol. 6, Issue 2, Apr 2016, 15-20
TJPRC Pvt. Ltd.

PSYCHO-SEXUAL TREATMENT OF TABOO AND CSA IN MAHESH

DATTANIS THIRTY DAYS IN SEPTEMBER
SAURABH MISHRA
Assistant Professor (English), Rajiv Gandhi Institute of Petroleum Technology, Rae Bareli, Uttar Pradesh, India
ABSTRACT
Mahesh Dattani is well known and appreciated for his famous knack for intriguing deep into the societal
issues. With his play- Thirty Days in September, he has been able to repeat the feat by creating ripples in the world of
taboo and related psycho sexual thoughts, impacting the life and world of the lead characters-Mala and Shanta. While
narrating the dark and incestuous acts of Vinay, Malas uncle, Dattani has also scripted the mother daughter estranged
relationship. The play is a fabulous caricature framed through psycho-sexual depiction of layers within the various set
of relations on display.
During the decade of 2000 there were several notable works which featured on themes of Child sexual abuse
and related issues prominent among them were Mira Nairs-Monsoon Wedding and the Bitter Choclate by Pinki
the famous Prithvi Theatre, in Mumbai on 31st May, 2001 (Dattani, 2005). Perpetuated as a result of demand by RAHI
(Recovering and Healing from Incest) to write a play on child sexual abuse; Dattanis Thirty Days in September, in
words of Lillete Dubey, has touched hearts and consciences everywhere (Dattani, 2005).
KEYWORDS: Taboo, Child Sexual Abuse, Incest, Sexual Assault, Relationships

Original Article

Virani. Both of these works almost occurred as prologue to Mahesh Dattanis play. Dattanis play was first enacted at

Received: Feb 20, 2016; Accepted: Mar 01, 2016; Published: Mar 07, 2016; Paper Id.: IJELAPR20163

INTRODUCTION
Taboo and Child Sexual Abuse (CSA) in Modern Urban Society
Child sexual abuse has shockingly enough adorned the role of lifes everyday reality. According to a
report of a national study on child sexual abuse commissioned by the Ministry of Women and Child Development
more than 53% of children in India are subjected to sexual abuse, but most dont report the assaults to anyone.
Even when the problem gets identified, lack of social awareness on the gravity of the issue and ways to deal with it
makes it difficult to ensure any kind of support to the victimized child.(Kulkarni,2006). Protection of Children
Against Sexual Offences Bill, 2011' regarding the child sexual abuse was passed by the parliament on May 22,
2012. This serves enough proof that our contemporary world is not a safe place any more for our little ones. RAHI
(Recovering and Healing from Incest) Foundation was established in 1996, as a pioneering organization which is
focused on the women survivors of Incest and Child Sexual Abuse (CSA).
World Health Organisation (WHO) has defined CSA as the involvement of a child in sexual activity that
he or she does not fully comprehend and is unable to give informed consent to, or for which the child is not
developmentally prepared, or else that violate the laws or social taboos of society.

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Child Sexual Abuse had become a notable social and criminal offence during the late 1990s and the early 2000s.
Pinki Viranis Bitter Chocolate affirmed the existence of CSA in an eye-opening and belligerent form bringing forth the
related stigmas. The statistical details and the Mira Nairs-Monsoon Wedding took it a step ahead where the brave
heroine dares to speak against her abuser. Dattanis- Thirty Days in September also presents a vivid view of the CSA.
Herein we are treated with the mix of CSA along with the psychological aspects it bears on the characters.

PSYCHO-SEXUAL INTERPRETATION AND IMPACT IN VARIOUS CHARACTERS

Dattanis has weaved the web of unpleasant psychological tension through the characters of Mala(daughter) and
Shanta(mother); who act as the prey and Vinay (maternal uncle) is the quiet and humble predator. Both mother and
daughter are the victim of incest, and preyed upon as helpless beings. Mala is the young lady who has been portrayed as a
primary victim of CSA. Her character is defined by the playwright as the one who bears the marks of her abuse on her
personality in the form of psychological tensions. Life of Mala is affected by these bearings of abuse so much so that she is
shown to visit a psychiatrist in the opening scene of the play.
Thirty Days in September reflects to a large extent the Freudian theory of Psycho-Sexual Development of
Personality. The unconscious mind nurtures the memories of the abuse instance or episodes and relates to creation of
hysteria- The [sexual] scenes must be present as unconscious memories; only so long as, and in so far as, they are
unconscious are they able to create and maintain hysterical symptoms (Freud). Mala is shown to be in the frame which
psychiatrist who is trying to recreate the repressed memories of childhood, which holds in line with the Freudian
explanation and extraction of the impact of CSA.
Malas character is constructed by Dattani as the one who is unable to pass cordially through the Phallic Stage.
Phallic stage is the third stage in the development of the Freudian theory of personality of an individual. At this stage a
child become aware of the gender of oneself and others and the libido is focused on genitalia as the erogenous zone.
Domination of Electra and Oedipus complex, as attraction for parents of opposite sex, makes for the most of this stage.
Resolution of these complexes is thus the foremost challenge of this stage, because, by identifying with a parent, the child
forms connotations of Morality, values and ethics in society, thereby, he or she chooses to comply with societal rules,
rather than having to comply reflexively, from fear of punishment.
Any trouble in passing successfully through this stage for a female would lead to Fixation at this stage. Such a
situation could result in a female becoming a woman who continually tries to dominate men through what is known as
penis envy, or as an unusually seductive and adulterous woman with high self-esteem or as an unusually submissive covert
woman who is low in self-esteem. In both the cases the individual is afraid or incapable of close love. Mala as a victim of
CSA is abominable about her relationship with opposite sex. She cannot be in a stable relationship nor have a dedicated
love bond: It has to end in a months time. In fact I like it best when I can time it so it lasts for thirty days. I even mark it
on my calendar (Dattani, p.18).
Shanta is shown to have the reverse of the same she was too much put off and afraid of physical love that in words
of Mala eventually her husband left her for the same-The only reason that you shared my room was because you didnt
want to sleep with himYou didnt want him touching you. I remember daddys last words to me. You know what he said.
He said to me I married a frozen woman (Dattani, p.36). Her fear and silence resulted in a similar fixation which
incidentally the same man implicated on her too. Shanta memorizes-My tongue was cut off years ago...when I could not

Impact Factor (JCC): 4.4049

Index Copernicus Value (ICV): 6.1

Psycho-Sexual Treatment of Taboo and CSA in Mahesh Dattanis Thirty Days in September

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save myself? (Dattani, p.55) and I was six, Mala. I was six. And he was thirteenand it wasnt only summer holidays.
For ten years! For ten years!! (Dattani, p.55).
Freudian concepts of Ego and Super Ego too play an important role in framing the personality shades of
characters in- Thirty Days in September. The realization of the immoral actions dawns in character of Mala through the
Ego Conscience when she says that-I know its wrong. What I am doing is terribly wrong! But it means a lot to me. I
like it. That is why I am a bad person. I have no character (Dattani, p.18). Her realization knows no bounds and she
desire to be helped out-I- Oh God! I-I seduced my uncle when I was thirteen! I slept with my cousin- and anyone who
was availableNo, there is nothing to tell about my uncle, forget all that, please help me stop this behavior (Dattani,
p.33).

HANDLING OF SOCIAL REALITIES AND SENSATIONAL ISSUES

Society in general has a tendency to sit over the roughage, it has bred over time and let it hide under the wraps of
ignorance, till it starts to stink and even then epitomize its ignorance by neglecting the evident presence. In the pay Mala is
shown engaging Shanta on adopting a similar attitude-Mala I cannot believe it. I simply cannot believe thatdo you
really think that is what I am talking about? (Dattani, p.25).This is more intensified as a tendency if the crime or the
unacceptable behavior is tended towards taboo or CSA. As if, not recognizing the matter would dissolve the graveness of
the issue. Shanta replies to Mala-No, no Mala. Just forget all these bad dreams and (Dattani, p.25).
In most of the cases the victim is treated as the one who bears the roots to the crime; rather than fruits of the same.
Mala after her re-revalidation is crucified by Shanta-Mala my daughter. What all have you been thinking all these years?
You have always been so bold and frank. But sometimes, you tell stories (Dattani, p.26). This in effect doubly excruciates
the victim, by convicting and disgracing the person in society and its realms. Shantas reply to Mala asserts her wanton
behavior-Not when you were seven but when you were thirteen. (Gently.) Please dont misunderstand me Mala. I
remember, seeing you with my brother during the summer holidays. You were pushing yourself on him in the bedroom
(Dattani, p.27).
At a later stage in Act-II and Act III, a similar vandalisation is automatically shaped up in a beautiful contrast
when Dattani makes the viewers realize the pain of Shanta when she is being dumped without empathy by Mala-So dont
try to tell me that you were concerned about me by hiding the truth. The only truth you want to hide is your failure as a
wife and a mother (Dattani, p.36) and He bought your silence. So that you can never tell anyone what he did to your
daughter! (Dattani, p.52).This contrast emerges as a thoughtful and striking coincidence when Mala who herself has been
a sufferer of CSA failed to notice the silence in her mothers eyes.
Mahesh Dattani has captured the social reality and stigma related to CSA when Mala expresses her agonyAfter all, it is he who must hide He should change his name, not me. It is he who must avoid being recognized. In
peoples homes, at parties, hopefully even on streets. He should look the other way when someone spots him anywhere on
this planet (Dattani, p.8).
Mother-Daughter relationship has been an important part of narration of the play by Dattani. In an interview to
Lakshmi Subramanyam, Dattani says: Though sexual abuse is at the core of my play, the mother-daughter relationship is
equally important. The main protagonist, who has suffered at the hands of her uncle, feels a deep sense of betrayal that her
mother did not stop the abuse and failed in her role as protector (Subramanyam, p.133).
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Saurabh Mishra

Weaved mostly along the interaction between the two the play represents the two in confrontation and
disagreement about each others personality and role. Malas adultery-But Mala, I have seen it with my own eyes. You
enjoyed it. You were an average child but you had my brother and your cousins dancing around you (Dattani, p.28), and
Shantas quietness-He bought your silence (Dattani, p.52).had been the bone of contention in the entire issue between
the two ladies. Until they both realize and acknowledge the common pain of each other-But I do see what she has been
through. Its been more difficult for her I guess (Dattani, p.57). Culminating in the following-While I accused you of not
recognizing my pain, you never felt any anger at me for not recognizing yours. We were both struggling to survive but
never acknowledged our struggle. Ma, no matter where I am, I always think of you (Dattani, p.58).

CONCLUSIONS
Thirty Days in September is another play in the string of thought provoking and social theme based creative
works by Mahesh Dattani. As reverberated in the Hindu the play- turned out to be dark and unexpectedly uncomfortable,
unflinchingly bringing up and exploring issues most people prefer to evade( Shonali Muthalaly,2010). The play appears in
a sincere main theme of Child Sexual Abuse (CSA) and sub-themes of Mother-Daughter relationship. Daring to showcase
such strong social aberrations in the play, Dattani hasnt hesitated to exploit the psychological impairment on the
characters. Mala and Shanta are the two victims who have their own typically contrasted psychological impairments. While
Mala is shown to turn to an extrovert sex addict--He wasnt staring at meI wanted him toYou want to know what I
feel most?...If he had looked at me, I would have felt-I would have felt-truly alive (Dattani, p.31), who is unable be in a
relationship for more than a month-In fact I like it best when I can time it so it lasts for thirty days. I even mark it on
calendar. After that I have to move on, if you know what I mean (Dattani, p.18). Shanta on the other hand shapes into an
introvert who is afraid of sexual relationship even with her own husband-I remember daddys last words to me. You know
what he said. He said to me I married a frozen woman. A frozen woman (Dattani, p.36).
The play initiates a call for action, in terms inducing a change within the societal structure. Detection and
identification of this grave social malady which has been accorded as a status of unrecognition by the stakeholders is
challenged through the play construct. Dattani doesnt hesitate to create characters like Deepak who dare to stare in the
eyes of the crime beholders and throw a disgust at them-How could you be such a sick bastard? (Dattani, p.53). This
shape of Thirty Days in September Mahesh Dattani presents to us a potent exhibition of the problem of Child Sexual
Abuse (CSA), also suggesting how- to counter it upfront is the best possible remedy to deal with the now very evident
social evil.
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Impact Factor (JCC): 4.4049

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