Tughlaq: Questions and answers

1. Why are the Muslims and Hindus critical of the Sultan?

Mostly Muslims and a few Hindus are waiting outside the chief court of justice for the trial to
conclude and the people to come out. They are discussing about Sultan’s administration and its
faults. Few are happy with him. Some accuse him for the deterioration in administration. They say
that Sultan has exempted the Hindus from paying “Jiziya” and he meets common people personally.
He is making himself cheap. He is called anti-muslim though he orders to pray 5 times a day. Even
the Hindus call him hypocrite. Thus, both sides are critical of him.

2. What was the case filed by the brahmin and its result?
One Vishnu Prasad filed a case alleging that his land was confiscated illegally by Govt. officials.
So, he has demanded a compensation for this and the suffering resulting from the trouble. Now,
Kazi-ul-Mumalik declares that the claim of the brahmin is just and as a compensation he must get
500 silver dinars from Govt. treasury and he would be given a post in civil service to ensure a regular
income for himself.

3. What is the rumour about the Sultan?

It is rumoured that the Sultan came to throne after murdering his own parents and that too at prayer
time. It was given out that an elephant had gone must just at prayer time. There was a great confusion
as large number people were killed and injured. His brother was also killed being unarmed. The
Sultan’s own mother didn’t talk with him from that day. But, his step-mother was very anxious
about Sultan’s welfare but, she too suspected him.

4. Why does the Sultan want to shift his capital from Delhi to Daulatabad?
Sultan demands the support of his people for his scheme of shifting his capital from Delhi to
Daulatabad, a symbol of Hindu-Muslim unity and brotherhood. He says that this step is taken with
the consent and approval of his ministers who are fully convinced that his large empire needs a
capital at its heart. And, the new capital would not be subject to the raids of the enemy as Delhi is.
He invites all to accompany him up to the new capital which will be the envy of the world.

5. What is the real identity of the brahmin Vishnu Prasad?

The brahmin was asked to leave the court after the verdict was given. But, Azam waits to meet him.
As Vishnu Prasad comes out, he is called by Azam, a pick-pocket. Azam recognises him to be Aziz,
the dhobi who had been his fast friend, Azam can’t believe the act of his friend so easily but Aziz
tells him that he was to test the sincerity and truthfulness of the Sultan. So, he disguised himself as
a brahmin and field a case in the court.
 6.Why is the Sultan worried?
The step-mother of Sultan asks him why he is passing sleepless nights. He replied that he is worried
about the prosperity and well-being of people. He wants to do what no king had done so far. He will
work for Hindu-Muslim unity, brotherhood, justice and peace in the country. He wants to die
fighting for the cause of his ideals and his country. He is not worried about his enemies but about
his subjects.

7. Who revolted against the Sultan?

Sultan Muhammad’s troubles are mounting due to the treachery of two persons-Sheik Iman-ud-din
and Ain-ulMulk, who revolted against the king. The former is turning the people in Kanpur against
the Sultan and his boyhood friend Mulk whom Sultan made the Governor of Avadh is marching on
Delhi with an army of 30 thousand soldiers while the Sultan hardly has 6 thousand soldiers to face
him. But, the sultan decides to go to Kanauj and to face his opponents in a peculiar way.

8. How does the sultan play his intrigue?

Being a crafty politician, Muhammad declares publicly that the great saint Iman-ud-din would
address the people of Delhi and Sultan himself would be present in the meeting. But, none turns up
as Sultan’s people forced common people for not coming to this meeting. Rather, he persuades the
Imam to be his envoy to Mulk to prevent fighting and bloodshed. He says that the Muslim blood is
precious and it should not be shed. Muslims must not be killed in the hands of Muslims. Like all
muslims, Mulk also respects him too much. The Sheikh falls in the royal trap and becomes the royal
envoy. But, the Sultan wanted to bring an end to the life of the Imam in this way.

9. How is the Imam murdered?

The battle takes place at Kanauj. As soon as Ain-ul-Mulk comes to the front, the Sheikh dressed in
royal dress standing on a gorgeous elephant and looking almost like the Sultan, gets ready to go to
the other as royal envoy to make peace. But, before he can do so, symbol is given for attack by
sounding the trumpet. Now, Sultan’s soldiers attack Ain-ulMulk and his army. In return, they take
the Sheikh to be the Sultan and shoot so many arrows at him that soon he is dead and looks like a
gory porcupine. Mulk didn’t give the call of attack but the Sultan. There was a lot of confusion and
bloodshed.

10. What plan was hatched against the king and how was it falsified?
The Sheikhs, the Amins and the Syyads were able to see the Sultan’s crafty nature. Ratan Singh
invited Shihab-ud-din to this meeting of rebels. It was fixed that during prayer time when the entire
hall will be unarmed, they will jointly kill the Sultan. The call of the muezzin would be the signal
for attack. On the other hand, Sultan decides not to go any mosque but pray in a room. As soon as
 the rebels rise to attack him, 20 Hindu soldiers hidden behind the curtain attack the rebels and there
is a great massacre. Actually, Ratan Singh cheated Shihab-ud-din as the latter’s father killed Ratan’s
father and usurped his kingdom. The Sultan was mad with fury for Shihab’s treachery and killed
him in no time.

11. Describe the exodus to Daulatabad.

When the exodus from Delhi to Daulatabad begins, Muhammad tells, “Najib, I want Delhi vacated
immediately. Every living soul in Delhi will leave for Daulatabad within a fortnight. I was too soft.
I can see that now. They’ll only . understand the whip. Everyone must leave. Not a light should be
seen in the windows of Delhi. Nothing but an empty graveyard of Delhi will satisfy me now”. He
further says, “There will be no more praying in the kingdom, Najib. Anyone caught praying will be
severely punished.” However, he says that praying will be allowed after the arrival of Abbasid
whose presence will purify the kingdom. Then, only prayer could be granted.

12. Describe the suffering of the people on the way to Daulatabad.

The people move on to Daulatabad according to the order of the Sultan. Thousands die on the way
and there is much suffering. Cries of lamentation echo in the air. Rogues like Aziz and Aazam
thrieve on the suffering of people. They make a lot of money. They get tired of their roguery and
decide to make money in a big way. They will no more pinch any coins, they will now make them.
They will make counterfeit copper coins and exchange them for silver coins. Such exchange shall
be strictly in accordance with the orders of the Sultan

13. Describe the big-fort in Daulatabad.

At the age of 21, Tughlaq built a big fort at Daulatabad, a fort so large and strong that it could only
fall from within No enemy reach it from without. As an old man puts it, “Yes, it’s a long passage,
a big passage coiled like an enormous hollow python inside the belly of the fort. And we shall be
far, far happier when that python breaks out and swallows everything in sight-every man, woman,
child and beast”. Muhammad has now his palace in this fort.

14. Describe the spiritual loneliness of Sultan.

The Sultan is already spiritually lonely and tortured within. Barani is told by Sultan, – “It isn’t as
easy as leaving the patient in wilderness because there is no cure for his disease. Don’t you see–this
patient, racked by fever and crazed by the fear of the enveloping vulture, can’t be separated from
me? Don’t you see that the only way I can abdicate is by killings myself ? I could have done
something if the vulture weren’t so close. I could have crawled forward on my knees and elbows.
But what can you do when every moment you expect a beak to dig into you and tear a muscle out?
What can you do? Barani what vengeance is driving these shapes after me?”
15. How is the Sultan frustrated?
The vultures are his ideals and his aspirations. That people call him mad Muhammad constantly
haunt him, but he can not leave the path of tyranny and bloodshed, for that would indicate admission
of his mistakes. This frustration is deepened when the death news of Najib is brought to him. But,
later he knew that his step-mother poisoned Najib for she thought that Najib was misguiding the
Sultan. So, the step-mother of Sultan, who loved Sultan the best was arrested and stoned for
adultery.

16. How did the Sultan pray to God?

Being heart-broken, the Sultan prays – “God, God, in Heaven please help me. Please don’t let go
off my head. My skin drips with blood and I don’t know how much of it is mine and how much of
others. I started in your path, Lord, why am I wandering naked in this desert now? I started in search
of you. Why am I become a pig rolling in this gory mud? Raise me, clean me, cover me with your
infinite mere I can only clutch at the hem of your cloak with my bloody fingers and plead. I can
only beg have pity on me. I have no one but you now. Only you.”

17. Describe the arrival of Abbasid.

Barani comes with the news that Abbasid has reached the Sultan’s kingdom and will soon be in
Daultabad. In real he is Aziz in disguise with Aazam as his follower. When he does reach
Daulatabad, he is given a royal welcome and public prayers are resumed from that moment. The
people are starving and they badly need food and not prayers. There is a lot of shouting. Soldiers
try to silence them and are attacked. A large scale riot began at Daulatabad. People are killed in
thousands.

18. How is Aazam murdered?

Aazam is tired of the idle life at Daultabad with Aziz disguised as Abbasid and he wants to go out
and run away. One night, he saw the Sultan behaving like a mad, like a witch. Aazam tells Aziz not
to feel afraid but to go to any safe place. He has already bribed two persons who will shortly come
with two horses. He has already tied their belongings to a large bundle. Twice he has been through
the secret passage that goes out through the castle. Aziz refused to do so. Aazam goes alone and is
murdered as soon as he comes out of the secret passage. The horses and murderers disappear before
anybody can see them.

19. How does the play end?

After Aazam is murdered, Aziz is made the Governor of Deccan due to his unquestionable
truthfulness to his Sultan Actually, it was Aziz who killed Aazam. However, the exhausted Sultan
falls asleep on the throne. In time of public prayer, a servant tries to awaken him but soon gives up
 the effort. The play ends as Muhammad suddenly opens his eyes and looks round dazed and
frightened as though he cannot comprehend where he is.” Has he gone mad ? It is for us to conjecture
for the author has provided no answer to the question

20. Describe the play “Tughlaq” as a Historical Play

Girish Karnad’s play Tughlaq is steeped in historical elements, as it chronicles significant events
during the reign of Sultan Muhammad bin Tughlaq, the ruler of Delhi from 1325 to 1351. While
Karnad incorporates artistic and dramatic embellishments to enhance the narrative, the play remains
closely tied to real historical facts and events.

Here are the key historical elements present in Tughlaq:

1. The Historical Figure of Muhammad bin Tughlaq:

The protagonist of the play, Muhammad bin Tughlaq, is based on the real Sultan of Delhi.
Historically, he is remembered as an extremely intelligent yet highly controversial ruler. Tughlaq’s
reign was marked by ambitious reforms, but many of his decisions were considered impractical,
and they led to widespread dissatisfaction and rebellion. Karnad presents him as a ruler with both
remarkable vision and tragic flaws, thus capturing the historical complexity of his character.

2. Shift of Capital from Delhi to Daulatabad:

One of the most significant historical events dramatized in the play is Tughlaq’s decision to move
the capital of his empire from Delhi to Daulatabad (then known as Devagiri) in southern India.
Historically, this move was aimed at better administering the vast and diverse territories of the
Sultanate, as Daulatabad was more centrally located. However, the forced migration caused
immense suffering to the population, leading to mass discontent and further destabilization. Karnad
portrays this as one of Tughlaq’s major missteps, despite his high ideals.

3. Introduction of Copper Currency:

Another crucial historical element in the play is Tughlaq’s introduction of a token currency made
of copper, meant to replace silver coins. This was a radical and progressive idea, meant to stabilize
the economy and alleviate the shortage of silver. However, the currency system failed miserably
because of widespread counterfeiting. In the play, this economic reform is depicted as a well-
meaning yet disastrous decision, reinforcing the theme of the Sultan’s failed idealism.

4. Religious Tolerance and Secularism:

Tughlaq was known for his policy of religious tolerance, particularly his attempt to integrate
Muslims and Hindus within his administration. Historically, he appointed Hindus to high-ranking
positions, which was unusual for the time. In the play, Karnad highlights this aspect of Tughlaq’s
reign, showing his commitment to a secular state and fair governance, regardless of religion. This
progressive attitude, however, alienates orthodox Muslims and other factions, contributing to
political instability.

5. Political Unrest and Rebellions:

Tughlaq’s reign was marked by several rebellions and political unrest due to his unpopular policies.
The play reflects the growing discontent among various sections of society, including nobles,
religious leaders, and the common people. Throughout the narrative, Karnad shows the gradual
breakdown of the Sultan’s authority as multiple conspiracies and rebellions against his rule emerge,
mirroring the historical challenges Tughlaq faced.

6. Historical Depiction of Daulatabad:

Daulatabad, to which Tughlaq shifts his capital, is portrayed in the play as a city symbolic of
Tughlaq’s failed ambitions. The historical Daulatabad was a fortified city in the Deccan region, and
its strategic location made it a tempting choice for administrative purposes. However, the hardships
caused by the relocation—long-distance migration, poor infrastructure, and insufficient resources—
are historically accurate and are depicted vividly in the play.

8. The Character of Sheikh Imam-ud-din:

Sheikh Imam-ud-din, a character in the play, represents the religious opposition to Tughlaq’s rule.
Historically, several religious leaders opposed Tughlaq’s policies, especially his secularism and
leniency towards Hindus. Karnad uses this character to show the tension between the ruler and the
orthodox religious factions, which played a significant role in weakening Tughlaq’s authority.

9. Historical Decline of Tughlaq’s Power:

Towards the end of the play, Karnad captures the slow but steady decline of Tughlaq’s power.
Historically, Tughlaq’s reign saw increasing internal strife, widespread rebellion, and
mismanagement of resources, which ultimately led to the collapse of his administration. Karnad
reflects this historical decline through the disillusionment of the Sultan and his growing isolation as
his once-grand plans unravel.

Conclusion:
Karnad’s Tughlaq is a deeply researched historical play that portrays the complexities of
Muhammad bin Tughlaq’s reign. The play brings together key historical events—such as the shift
of the capital, the introduction of copper currency, and the political unrest—that shaped Tughlaq’s
legacy. Through the character of the Sultan, Karnad captures the tension between idealism and
reality, reflecting on the broader themes of power, governance, and human ambition. By
intertwining historical facts with dramatic elements, Tughlaq offers a nuanced reflection on the
challenges of leadership and the often tragic consequences of flawed idealism.

21. Explain religion politics interface in the play “Tughlaq”

In Girish Karnad’s Tughlaq, the interface between religion and politics is a central theme that
underscores the complexities of Sultan Muhammad bin Tughlaq’s rule. The play highlights how
religious tolerance, secularism, and political pragmatism create tension in a society deeply
influenced by religion. Through the character of Tughlaq, Karnad explores the political use of
religion and the dangers of mixing idealism with governance.

1. Tughlaq’s Secular Vision:

Muhammad bin Tughlaq, as portrayed by Karnad, is a ruler with an idealistic vision of a secular
state. Historically, Tughlaq was known for his attempts to bridge the gap between Hindus and
Muslims in his empire. In the play, Tughlaq’s secular policies include appointing Hindus to high
positions in his administration and advocating for religious tolerance. Tughlaq’s secularism is not
merely an act of governance but a political philosophy he strongly believes in. He declares, “I want
Delhi to be the greatest city in the world, a symbol of all that is best in Islam and Hinduism,”
underscoring his desire for religious harmony. However, this vision alienates both Hindu and
Muslim religious factions. The Muslim clergy (Ulema) disapproves of his progressive policies,
while the general population is suspicious of his attempts to integrate different religious
communities.

2. Religious Opposition and Political Rebellion:

The play showcases how religion can become a tool of political resistance. Sheikh Imam-ud-din, a
religious leader in the play, represents the orthodox Muslim community's disapproval of Tughlaq’s
policies. His public criticism of the Sultan's secularism and tolerance toward Hindus stirs unrest
among the populace. The Sheikh’s opposition is not only a religious critique but also a political
maneuver, as it undermines Tughlaq’s authority. Religious leaders like the Sheikh manipulate the
public’s discontent with the Sultan’s policies, turning religious sentiments into political action.
In a cunning political move, Tughlaq uses Sheikh Imam-ud-din as a pawn, disguising him as the
Sultan and sending him to confront the rebels. The Sheikh’s death satisfies both the rebels and the
orthodox religious community, showing how Tughlaq exploits religious politics to maintain power.

3. Manipulation of Religion for Political Gains:

As Tughlaq’s rule unravels, his initial idealism about creating a harmonious, secular state gives way
to political opportunism and moral corruption. The play highlights the hypocrisy inherent in the
intersection of religion and politics. Tughlaq’s idealistic promises of justice, fairness, and religious
tolerance gradually lose their moral grounding as his political decisions become more tyrannical.
His use of violence and deception, such as the assassination of his political rivals, stands in stark
contrast to his earlier vision of a just and peaceful state. His fall from grace is symbolic of the
corrupting influence of power, where the ruler who once promoted secularism and religious
tolerance ends up resorting to manipulation and tyranny. The play thus critiques the dissonance
between religious ideals and political realities.

Conclusion:

In Tughlaq, Girish Karnad masterfully portrays the complex relationship between religion and
politics, showing how idealism can be undermined by deeply entrenched religious beliefs and how
rulers can manipulate religion to serve political ends. The play critiques both the idealization of
secularism in a religiously divided society and the use of religion as a tool of political power.
Through Tughlaq’s tragic decline, Karnad reflects on the difficulty of achieving true religious
tolerance in a world where politics and religion are inextricably linked

22. Character Sketch of Sultan Muhammad bin

The character of Sultan Muhammad bin Tughlaq in Girish Karnad's play Tughlaq is a complex,
multifaceted figure whose personality and reign are marked by a tension between idealism and
tyranny. Karnad’s portrayal of the Sultan delves into the psychological, political, and moral layers
of Tughlaq's character, making him one of the most compelling tragic figures in Indian drama.

1. Idealist Visionary:

At the beginning of the play, Tughlaq is portrayed as a ruler with grand and visionary ideas for his
empire. He believes in justice, secularism, and the coexistence of different religious communities.
His policies, such as moving the capital from Delhi to Daulatabad and introducing a copper
currency, reflect his desire to modernize the kingdom and strengthen governance. Tughlaq’s
ambition to create a unified, progressive state stands out. He sees himself as a philosopher-king,
devoted to high ideals and making radical reforms. His early speeches in the play highlight his
passion for creating a utopian society where justice is impartial, and all citizens, regardless of
religion, live harmoniously. However, this idealism is also his flaw. Tughlaq's visionary projects
are often impractical, lacking careful planning and understanding of human nature. His inability to
foresee the practical consequences of his ambitious ideas leads to chaos, widespread suffering, and
disillusionment among his people.

2. Cunning and Manipulative Ruler:

Despite his lofty ideals, Tughlaq is also a highly pragmatic, and at times, manipulative ruler. He
uses cunning political strategies to maintain his grip on power, often resorting to deception and
brutality when necessary. For instance, he manipulates Sheikh Imam-ud-din into becoming a
sacrificial pawn, sending him to be killed by rebels to appease his critics. Tughlaq’s use of religion
to legitimize his rule is another example of his political manipulation. While he presents himself as
a devout Muslim by engaging in public prayers and adhering to Islamic practices, his actions reveal
a leader who is willing to sacrifice his religious beliefs for political gain. This duality in his
character—being outwardly pious while engaging in political machinations—reveals his moral
ambiguity.

3. Religious Tolerance and Secularism:

Tughlaq’s secularism is one of his defining traits. He advocates for religious tolerance and appoints
Hindus to important positions in his court, much to the dismay of the orthodox Muslim clergy. His
vision of a society where religion does not dictate politics makes him a progressive leader, far ahead
of his time. However, this very secularism becomes a source of tension and conflict. Both the
Muslim religious elite and Hindu population are suspicious of his policies, and his attempts to bridge
the gap between the two communities lead to increased hostility and political instability. Tughlaq’s
failure to navigate the religious sentiments of his people becomes a major factor in his downfall.

4. Paranoia and Isolation:

As the play progresses, Tughlaq’s idealism gives way to paranoia and mistrust. Faced with
conspiracies, rebellions, and the public’s growing dissatisfaction, Tughlaq becomes increasingly
isolated and erratic. He suspects betrayal from even his closest advisors and resorts to extreme
measures, including executions and brutal punishments, to maintain control. His growing paranoia
is reflected in his obsession with espionage and surveillance. He surrounds himself with spies,
constantly fearing that those around him are plotting against him. This deep mistrust leads to his
alienation from his subjects and his court, leaving him emotionally and physically alone. Tughlaq’s
paranoia ultimately contributes to his moral and psychological decline. His initial vision of creating
a just and harmonious state becomes corrupted by his fear of losing power, turning him into a
ruthless despot.

5. Tughlaq’s Inner Conflict:

A key aspect of Tughlaq’s character is his internal struggle between his intellectual ideals and the
harsh realities of governance. Throughout the play, he is torn between his desire to be a fair and
enlightened ruler and the pragmatic need to use force and manipulation to maintain control. This
inner conflict makes him a tragic figure. Tughlaq genuinely wants to implement policies that will
benefit his people, but he is constantly confronted with the impossibility of his idealism in a world
governed by political intrigue and human selfishness. His frustration with his own failures adds to
his growing cynicism and desperation. Tughlaq’s intellectualism, his philosophical musings, and
his reflections on power, justice, and governance reveal his deep introspection. But this
intellectualism also isolates him from the masses, who fail to understand his high-minded goals.

6. A Tragic Figure:

Tughlaq’s story is ultimately one of tragic downfall. His reign, which begins with the promise of
enlightenment and reform, ends in chaos, violence, and personal ruin. His inability to reconcile his
idealism with the practicalities of rule leads to widespread disillusionment and the collapse of his
authority. The tragic irony of Tughlaq’s character is that the very qualities that make him a
visionary—his intelligence, ambition, and desire for reform—also contribute to his downfall. His
failure to anticipate the consequences of his decisions and his increasing reliance on cruelty and
deceit reflect the tragic inevitability of his decline.

Conclusion:

Sultan Muhammad bin Tughlaq, as portrayed in Karnad’s Tughlaq, is a deeply complex and tragic
figure. He embodies the duality of idealism and tyranny, intelligence and cruelty, and vision and
paranoia. His rise and fall serve as a commentary on the challenges of leadership and the inherent
contradictions of power. Karnad’s portrayal of Tughlaq as a man torn between his aspirations and
the realities of governance makes him one of the most psychologically rich and philosophically
profound characters in modern Indian drama.
23. Character sketch of Aziz

Aziz, a character in Girish Karnad's play Tughlaq, plays the role of a cunning, opportunistic, and
resourceful antagonist. His actions and personality provide a sharp contrast to the idealism of Sultan
Muhammad bin Tughlaq, and through Aziz, Karnad explores themes of deception, manipulation,
and survival in a politically corrupt environment.

1. Cunning and Deceptive:

Aziz is introduced as a small-time but highly intelligent trickster. He starts as a washerman (dhobi)
but quickly rises in the play by exploiting the flaws and loopholes in Sultan Tughlaq’s
administration. His cunning nature is his most defining trait. Aziz’s ability to disguise himself and
deceive others reflects his mastery of manipulation. In the beginning, he impersonates a Brahmin
and exploits Tughlaq’s policy of religious tolerance, which allows Hindus to bring cases to Muslim
courts. By pretending to be a Brahmin, he manages to manipulate the system to his advantage. His
schemes are calculated and strategic, showing that he is not just a petty criminal but a master of
disguise and manipulation. His intelligence allows him to outwit the system and achieve success in
a corrupt political environment.

2. Opportunist:

Aziz is a consummate opportunist. He seizes every chance to rise in status and wealth, capitalizing
on the confusion and disorder in Tughlaq’s reign. His ability to adapt and survive in a politically
unstable environment demonstrates his resourcefulness. Throughout the play, he makes use of the
Sultan’s chaotic reforms, such as the shift of the capital to Daulatabad and the introduction of copper
currency, to further his personal gains. He thrives in a world where ideals have failed, and survival
is dependent on shrewdness and guile. Aziz’s opportunism is seen in his manipulation of both
religion and politics. Whether pretending to be a Brahmin or navigating the corrupt political system,
he changes his identity and strategies to suit his needs, which reflects his pragmatic, amoral
approach to life.

3. A Satire on Corruption:

Through the character of Aziz, Karnad satirizes the political corruption of Tughlaq’s time. Aziz’s
success in exploiting the Sultan’s idealistic reforms shows how easily well-intentioned policies can
be corrupted by those seeking personal gain. Aziz represents the darker side of political idealism,
showing that in a world where the ruler’s vision fails to connect with reality, cunning individuals
like him can thrive. His character acts as a critique of the flaws in Tughlaq’s governance, where the
gap between ideals and execution allows individuals to manipulate the system for personal gain.
The fact that Aziz is a commoner who rises to power through deception also critiques the social and
political order. His rise suggests that corruption and deceit can overturn traditional hierarchies,
challenging both authority and morality.

4. Immorality and Ruthlessness:

Aziz acts without regard for ethical or religious considerations. His actions are driven solely by self-
interest, and he shows little concern for the consequences of his deceit. He is willing to take on
multiple identities, lie, cheat, and manipulate others to achieve his goals. One of the most significant
examples of his ruthlessness is his killing of Ghiyas-ud-din, a man who represents the moral
conscience of the play. Aziz’s decision to murder Ghiyas-ud-din for personal gain shows the extent
of his lack of scruples and his willingness to eliminate anyone standing in his way.

Despite his cunning and ruthless behavior, Aziz is a somewhat likeable character in his audacity
and wit. His quick thinking and survival skills make him a compelling and dynamic figure, though
he clearly represents the morally corrupt aspects of society.

5. Master of Disguise and Adaptability:

One of the defining characteristics of Aziz is his ability to disguise himself and take on new
identities as needed. His impersonation of a Brahmin at the start of the play is only one example of
how he skillfully navigates different roles to deceive others. This adaptability is symbolic of the
larger political instability in Tughlaq’s reign, where individuals must constantly change and adjust
to survive. Aziz’s chameleon-like nature allows him to thrive in a system that is crumbling under
the weight of the Sultan’s failed policies.

Conclusion:

Aziz, in Tughlaq, is a symbol of deception, manipulation, and survival in a world where idealism
and governance fail to connect. He is the opposite of the morally conflicted Sultan, representing the
opportunistic, cunning side of society that flourishes in times of political chaos. Through Aziz,
Karnad critiques the corrupting influence of power, the flaws in idealistic governance, and the ways
in which the common man must navigate a broken political system for personal survival. Despite
his moral ambiguity, Aziz remains a vibrant, dynamic character who reflects the darker realities of
Tughlaq’s rule.