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Krushnaji Prabhakar Khadilkar ((Devanagari: कृष्णाजी प्रभाकर खाडिलकर) (1872 - 1948) was a Marathi writer from Maharashtra, India.

Khadilkar was born on November 25, 1872 in Sangli. At age 15, he wrote a novel, and the next year he wrote a play. He received his B.A. degree in 1892 from Deccan College in Pune. Out of his abiding interest in plays, he closely studied during his college years the plays of Sanskrit and English playwrights.

In 1897, Khadilkar joined the editorial staff of Lokmanya Tilak's daily Kesari (केसरी). His thoughts and writing style so much matched those of Tilak that the readers of Kesari never knew as to which of the two had written the editorials appearing in the newspaper. In 1908 the colonial government arrested Tilak on charges of sedition for an article written by Khadilkar.^[1] Tilak was sentenced to six years transportation to be served in Mandalay.^[2]

During 1908-10, Khadilkar served as the chief editor of Tilak's English daily Maratha (मराठा) besides serving on the editorial board of Kesari. In 1910, he left the editorship of both Kesari and Maratha, but returned to work as the editor of Keasari during 1917-20.

After Tilak's death in 1920, Khadilkar worked as the editor of daily “Lokamanya” (लोकमान्य) during 1921-23. In 1923, he founded daily Nava Kal (नवा काळ). His editorials in Nava Kal strongly supported the freedom struggle of India under the leadership of Mahatma Gandhi, who had assumed the leadership after Tilak's death. In 1929, British authorities imprisoned Khadilkar for a year for the "crime" of disloyalty to the British Raj.

Khadilkar presided over Marathi Sahitya Sammelan at Nagpur in 1933.

He died on August 26, 1948.

Plays

The following is the list of Khadilkar's plays:

Savai Madhavrao Yancha Mrutyu (सवाई माधवराव यांचा मृत्यु)
Bhaubandaki (भाऊबंदकी)
Kanchangadachi Mohana (कांचनगडची मोहना)
Manapman (मानापमान)
Swayamvar (स्वयंवर)
Keechak-Wadh (कीचकवध)
Menaka (मेनका)
Widyaharan (विद्याहरण)
Sawitri (सावित्री)
Draupadi (दौपदी)
Sawati Matsar (सवतीमत्सर)
Satwa Pariksha (सत्त्वपरीक्षा))
Bayakanche Banda (बायकांचे बंड)
Tridandi Sanyas (त्रिदंडी संन्यास)

Kichak Vadh or Kichak's assassination

Kichak Vadh (1907) is a play about Kichak a minister at the court of Virat who attempts to molest Draupadi, he is assassinated by her husband Bhim as a result The writing of the play is a manifestation of Khadilkar's mission of resistance to British rule. Tilak was "raging a relentless war against Curzon^[3] This molestation is used as a metaphor for the policies of the British colonial government in India. Kichak represented Curzon: Viceroy to the King, just as Kichak was minister to King Virat, Draupadi represented India and Bhim represented an extremist nationalist, Yudhishtar the moderate nationalist. Bhatia considers that the playwright contrasts the aggression and hatred of the government for its colonial subjects with the resistance of those who attempt rescue the nation from colonial evils. Themes of sacrifice, war and duty sharpened the quest of freedom. The play was a allusionary attack on the colonial government.^[3] ^[4]

Deshpande in Encyclopaedic dictionary of Marathi Literature, considers the Kichak Vadh Khadilkar's most effective play, superb in construction and his most representative creation. Khadilkar was Tilak's confidant and his assistant as editor at Kesari, Kichak Vadh was one of his political allegories, plays which "expressed rebellious sentiment with regards to British domination". Kichak's words echo Curzon's most vile "the rulers are rulers and slaves are slaves". Kichak's death was a prophecy for the end of British rule. Though the colonial government was slow to react, the Anglo-Indian and British press condemned the playwright and the play. The Encyclopaedia mentions that "the London Times, in an eloquent outburst against this play, said in effect, Khadilkar is a most dangerous extremist, and Kichak Vadha is a cleverly veiled incitement to murder the European officials. It agrees with this description of the play admitting that "the article had correctly judged the obvious message of the play". The play was subsequently banned.^[3]

Kincaid wrote an article in the Times titled "A seditious play of the Deccan', a critique of the Marathi play Kichak Vadh by K. P. Khadilkar" as an example of sedition.^[5]

Nagendra considers the play as a notable example of the use of a mythological character as a symbol of oppression.^[6]

Audience reaction to Kichak Vadh

Chirol's Indian Unrest, carries the plot and explains the allegories. It cautions that the extremist boast that they would free their country, defend it from invaders thus proving Morley false no bluff. Any Englishman who saw the play would attest so. He would remember all his life the tense scowling face of the men as they watch the outrages of Kichak and tearful eyes of the ladies as they watch "Draupadi's entreaties", "their scorn for Yudhistira's tameness, their admiration of Bhima's passionate protests, and the deep hum of satisfaction which approves the slaughter of the tyrant.^[7]

References

^ Vijaya Ramaswamy (2003). Re-searching Indian women. Manohar. ISBN 978-81-7304-496-0. Retrieved 12 February 2012.
^ Ranbir Vohra (2001). The making of India: a historical survey. M.E. Sharpe. pp. 113–. ISBN 978-0-7656-0711-9. Retrieved 12 February 2012.
^ ^a ^b ^c Sunita Deshpande (2007). Encyclopaedic dictionary of Marathi literature. Global Vision Publishing Ho. pp. 327–. ISBN 978-81-8220-221-4. Retrieved 9 September 2011.
^ Nandi Bhatia (20 May 2004). Acts of authority, acts of resistance: theater and politics in colonial and postcolonial India. University of Michigan Press. pp. 46–. ISBN 978-0-472-11263-0. Retrieved 12 February 2012.
^ Mariam Dossal; Ruby Maloni (1 January 1999). State intervention and popular response: western India in the nineteenth century. Popular Prakashan. pp. 166–. ISBN 978-81-7154-855-2. Retrieved 12 February 2012.
^ Nagendra (1989). Jayashankar Prasad his Mind and Art. Prabhat Prakashan. pp. 172–. Retrieved 12 February 2012.
^ Indian Unrest. Forgotten Books. pp. 337–. ISBN 978-1-4400-7748-7. Retrieved 13 February 2012.

Template:Persondata

[Ramaswamy2003-1] Vijaya Ramaswamy (2003). Re-searching Indian women. Manohar. ISBN 978-81-7304-496-0. Retrieved 12 February 2012.

[Vohra2001-2] Ranbir Vohra (2001). The making of India: a historical survey. M.E. Sharpe. pp. 113–. ISBN 978-0-7656-0711-9. Retrieved 12 February 2012.

[Deshpande2007-3] Sunita Deshpande (2007). Encyclopaedic dictionary of Marathi literature. Global Vision Publishing Ho. pp. 327–. ISBN 978-81-8220-221-4. Retrieved 9 September 2011.

[Bhatia2004-4] Nandi Bhatia (20 May 2004). Acts of authority, acts of resistance: theater and politics in colonial and postcolonial India. University of Michigan Press. pp. 46–. ISBN 978-0-472-11263-0. Retrieved 12 February 2012.

[DossalMaloni1999-5] Mariam Dossal; Ruby Maloni (1 January 1999). State intervention and popular response: western India in the nineteenth century. Popular Prakashan. pp. 166–. ISBN 978-81-7154-855-2. Retrieved 12 February 2012.

[Nagendra1989-6] Nagendra (1989). Jayashankar Prasad his Mind and Art. Prabhat Prakashan. pp. 172–. Retrieved 12 February 2012.

[Indian_Unrest-7] Indian Unrest. Forgotten Books. pp. 337–. ISBN 978-1-4400-7748-7. Retrieved 13 February 2012.

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@@ Line 33: / Line 33: @@
 Kichak Vadh (1907) is a play about [[Kichak]] a minister at the court of Virat who attempts to molest [[Draupadi]], he is assassinated by her husband [[Bhim]] as a result The writing of the play is a manifestation of Khadilkar's mission of resistance to British rule. [[Bal Gangadhar Tilak|Tilak]] was "raging a relentless war against [[George Curzon, 1st Marquess Curzon of Kedleston|Curzon]]<ref name="Deshpande2007">{{cite book|author=Sunita Deshpande|title=Encyclopaedic dictionary of Marathi literature|url=http://books.google.com/books?id=nrR9D_ydGwoC&pg=PA327|accessdate=9 September 2011|year=2007|publisher=Global Vision Publishing Ho|isbn=978-81-8220-221-4|pages=327–}}</ref>  This molestation is used as a metaphor for the policies of the British colonial government in India. Kichak represented Curzon: [[Viceroy]] to the King, just as Kichak was minister to King Virat, Draupadi represented India and Bhim represented an extremist nationalist, [[Yudhisthira|Yudhishtar]] the moderate nationalist. Bhatia considers that the playwright  contrasts the aggression and hatred of the government for its colonial subjects with the resistance of those who attempt rescue the nation from colonial evils. Themes of sacrifice, war and duty sharpened the quest of freedom. The play was a allusionary attack on the colonial government.<ref name="Deshpande2007"/> <ref name="Bhatia2004">{{cite book|author=Nandi Bhatia|title=Acts of authority, acts of resistance: theater and politics in colonial and postcolonial India|url=http://books.google.com/books?id=zIr2TX3NiAwC&pg=PA46|accessdate=12 February 2012|date=20 May 2004|publisher=University of Michigan Press|isbn=978-0-472-11263-0|pages=46–}}</ref>
-[[Sunita Deshpande|Deshpande]] in ''Encyclopaedic dictionary of Marathi Literature'', considers the Kichak Vadh Khadilkar's most effective play, superb in construction and his most representative creation. Khadilkar was Tilak's confidant and his assistant as editor at [[Kesari (newspaper)|Kesari]], Kichak Vadh was one of his political allegories, plays which "expressed rebellious sentiment with regards to British domination". Kichak's words echo Curzon's most vile "the rulers are rulers and slaves are slaves". Kichak's death was a prophecy for the end of British rule. Though the colonial government was slow to react, the Anglo-Indian and British press condemned the playwright and the play. The play was subsequently banned.<ref name="Deshpande2007"/>
+[[Sunita Deshpande|Deshpande]] in ''Encyclopaedic dictionary of Marathi Literature'', considers the Kichak Vadh Khadilkar's most effective play, superb in construction and his most representative creation. Khadilkar was Tilak's confidant and his assistant as editor at [[Kesari (newspaper)|Kesari]], Kichak Vadh was one of his political allegories, plays which "expressed rebellious sentiment with regards to British domination". Kichak's words echo Curzon's most vile "the rulers are rulers and slaves are slaves". Kichak's death was a prophecy for the end of British rule. Though the colonial government was slow to react, the Anglo-Indian and British press condemned the playwright and the play. The ''Encyclopaedia'' mentions that "the London Times, in an eloquent outburst against this play, said in effect, ''Khadilkar is a most dangerous extremist, and Kichak Vadha is a cleverly veiled incitement to murder the European officials.'' It agrees with this description of the play admitting that "the article had correctly judged the obvious message of the play". The play was subsequently banned.<ref name="Deshpande2007"/>
 [[Charles Augustus Kincaid|Kincaid]] wrote an article in the Times titled "A seditious play of the Deccan', a critique of the Marathi play Kichak Vadh by K. P. Khadilkar" as an example of sedition.<ref name="DossalMaloni1999">{{cite book|author1=Mariam Dossal|author2=Ruby Maloni|title=State intervention and popular response: western India in the nineteenth century|url=http://books.google.com/books?id=7EkGKKvJ0lsC&pg=PA166|accessdate=12 February 2012|date=1 January 1999|publisher=Popular Prakashan|isbn=978-81-7154-855-2|pages=166–}}</ref>