The paper endeavours to analyse the plays of Girish Karnad from a feminist perspective. Theme/motif, characterization, image and psychology of the women have been targeted with the purpose to evaluate Karnad's vision, attitude, concern and treatment of the feminine issue. subalternity, dialectical relationship, cultural polarity. Karnad's deep-rooted humanism allowed him to give voice to the silenced majority through his plays. Karnad was well acquainted with feminist ideologies and the havoc wrought by patriarchal ideologies in Indian society. The plays of Karnad abound with subalterns especially women and lower caste people subjected since ancient time by patriarchy or upper hierarchy of the society. Karnad has not only exposed their subalternity but also fused energy in their lives so that they can speak; shifted their position from “margin” to “centre”. Yayati, Tughlaq, Hayavadana, Naga-Mandala, Tale-Danda,The Fire and the Rain, Flowers, Broken Images and Wedding Album etc. amply exemplify the above notion. Devayani, Sharmishtha and Chitralekha in Yayati, Kapil and Padmini in Hayavadana, Rani and Kurudavva in Naga-Mandala, lower caste people in Tale-Danda, tribals, Nitilai and Vishakha in The Fire and the Rain, Radhabai and Yamuna in Wedding Album display subalternity of the class they represent. Karnad as a cultural administrator goes beyond this and attempts to provide them their due space and defy the traditional hierarchies prevalent in Indian society. The paper endeavours to analyse the plays of Girish Karnad from a feminist perspective. Theme/motif, characterization, image and psychology of the women have been targeted with the purpose to evaluate Karnad's vision, attitude, concern and treatment of the feminine issue. His deep-rooted humanism and concern for the upliftment of Indian women have produced two sets of characters—one the traditional representing the gendered subalternity; another progressive which mark the evolution of womenfolk. Devayani, Sharmistha and Chitralekha in Yayati, Padmini in Hayavadana, Rani and Kurudavva in Naga-Mandala, Vishakha and Nitilai in The Fire and the Rain, Chandravati in Flowers, Manjula Nayak and Malini in The Broken Images, Vidula Nadkarni, Pratibha Khan and Hema, Radhabai, Mira, Vatsala and Yamuna in Wedding Album define the feminine world of Karnad which embodies several aspects possessing modern relevance. Yayati, the first play of Karnad which is based on the myth of Yayati in the Mahabharata is highly relevant as far as the socio-psychological study of