The plays of Girish Karnad often have a thematic focus on the basic issues that concern the existential problem of an individual in the postcolonial modern Indian society. Gender is an important social construct that keep on modifying the existential space of an individual. Karnad very dexterously pictures the condition of a typical Indian female, ruled by the patriarchal order bounded by tradition, but whose spirit remains unbounded. His employment of the myth and old tales are to focus on the absurdity of modern life with all its conflicts. In this relation, Girish Karnad comments in the Introduction to Three Plays: Nagamandala, Hayavadana, Tughlaq: My generation was the first to come of age after India became independent of British rule. It therefore had to face a situation in which tensions implicit until then had come out in the open and demanded to be resolved without apologia or self-justifications, tensions between the cultural past of the country and its colonial past, between the attractions of western modes of thought and our own traditions, and finally between the various visions of the future that opened up once that common cause of political freedom was achieved. This is the historical context that gave rise to my plays and those of my contemporaries. Thus it is important to note that the conflict in the play of Karnad is not of traditional as between the good and the evil but it is related to the behavioral changes in the modern man and woman. So, the plot of Hayavadana is related to the conflict between the complete and the incomplete. The play is named as "Hayavadana," as Hayavadana is a very important character in the sub-plot whose sorrow represents the idea of incompleteness. The irony reaches its climax when the character, Hayavadana pursuits for completeness, but he becomes a complete horse. Now he wants to get rid of human voice. In order to do so, he sings patriotic songs. The scene is highly comic, as well as ironic. This can be seen as a hint towards the absurdity of human life. Girish Karnad is influenced by the mythology. The practice of going back to mythology is not totally new in the Indian English drama. Girish Karnad comments on an idea about the usage of folklore in relevance to modern situation as The tale from Vetala Panchvimshati had been used by Mann to address the question. Mann continues the logic to its ultimate end that since the head is the man, the bodies transform themselves to fit the heads so that men become exactly as they physically were at the start of the story...that's when the plot of Hayavadana began to take shape in my mind. These words reveal that Girish Karnad has fused myth and folktale with his own idea to create his plot. He is a playwright whose play offers together a mythical or folktale and separate problems of modern man. In other words Girish Karnad is fascinated with the rich Indian folk and mythic lore and draws from it the material for his plays. His plot and structure derive from the myth, folk tradition to present psyche and problems of modern man or woman. The major female character is Padmini. She is the person around whom the whole play revolves. Karnad has conveyed through this character a transparent sensibility aspiring for a