Indira Parthasarthi’s new play Aurangzeb mounted the stage for the first time early in November, not in the original Tamil but in Surendra Gulati’s Hindustani translation. The performing group was Agredot, the director M.K. Raina and the venue the Fine Arts Theatre, New Delhi. An English version of the play appeared in the erratic theatre magazine Enact in August 1974. The drama is woven around a series of confrontations both personal and ideological, between Dara Shikoh and Aurangzeb, Shahjehan and Aurangzeb, Jahanara and Roshanara. The playwright knows his history well and the representation of the various conflicts and happenings is faithfully wrought. Basing himself on the premise of paternal discrimination in their childhood, Parthasarthi portrays the favoured Dara as awarm and humane philosopher, a scholar with dreams of a secular Hindustani and neglected Aurangzeb as the calculating religious fanatic whose one ambition is to create “one Hindustan with one language and one religion”. The opening conversation between two soldiers not only describes the rival positions but also indicates the inevitable end.