तुम्हारी स्मृतियों से

 तुम्हारी स्मृतियों से  । 

यह जो 

मेरी मनोभूमि है

लबालब भरी हुई

तुम्हारी स्मृतियों से

यहां

रुपहली बर्फ़ पर

प्रतिध्वनियां

उन लालसाओं को 

विस्तार देती हैं 

जो की अधूरी रहीं ।

ये रोपती हैं

जीवन राग के साथ

गुमसुम सी यादें

लांघते हुए

उस समय को

कि जिसकी प्रांजल हँसी

समाई हुई है

मेरे अंदर 

बहुत गहरे में कहीं पर ।

इस घनघोर एकांत में

उजाड़ मौसमों के बीच

बहुत कुछ 

ओझल हो गया

तो बहुत कुछ गर्क।

विस्मृतियों के

ध्वंस का गुबार

इन स्याह रातों में

रोशनदान से

अब भी 

झांकते हैं मुझे 

और मैं

ऐसी दुश्वारियों के बीच

डूबा रहता हूं

अपना ही निषेध करते हुए

उन बातों में

जो तुम कह चुकी हो ।

मैं

शिलाओं सा जड़

नहीं होना चाहता इसलिए

लगा रहता हूं

हंसने की

जद्दोजहद में भी

लेकिन मेरा चेहरा

गोया कोई

ना पढ़ी जा सकनेवाली 

किसी इबारत की तरह

बिलकुल नहीं है ।

ऐसे में

सोचता हूं कि

विपदाओं की इस बारिश में 

पीड़ाओं के बीच

कोई पुल बनाऊं

ताकि 

साझा कर सकूं

पीड़ाओं से भरी चुप्पियां ।

इन चुप्पियों में

कठिन पर कई

जरूरी प्रश्न हैं

जिनका

अभिलेखों में

संरक्षित होना ज़रूरी है

वैसे भी

प्रेम में लोच

बहुत ज़रूरी है।

फिर इसी बहाने

तुम याद आती रहोगी

पूरे वेग से

और

एक उपाय 

शेष भी रह जायेगा 

अन्यथा 

ख़ुद को खोते हुए

मैं

तुम्हें भी खो दूंगा ।

जबकि मैं

तुम्हें खोना नहीं चाहता

फिर यह बात

तुम तो जानती ही हो 

इसलिए

तुम रहो 

मेरे होने तक

फिर भले ही जुदा हो जाना 

हमेशा की तरह

पर

हमेशा के लिए नहीं ।

डॉ मनीष कुमार मिश्रा

सहायक प्राध्यापक

हिन्दी विभाग

के एम अग्रवाल महाविद्यालय

कल्याण पश्चिम

महाराष्ट्र

Reference Books for Sanskrit Drama - Dr Swati Joshi Gujarat

 

Reference Books for Sanskrit Drama

Dr Swati Joshi

Gujarat 

01. Masson, J. Avimaraka.  Motilal Banarsidas; Delhi: 1970

02. Woolner, A.C and Sarup Lakshman. Thirteen Plays of Bhasa. Motilal Banarsidas and Sons; Delhi: 1985 vol. II 

03. Cowell,E.B. Tr The Harsacharita of Bana.  Motilal Banarsidas; Delhi: 1993

04. Haksar A.N.D. (tr.)  The Shattered Thigh And Other Plays. Penguin Group; India: 1993

05. Sharma, Sudarshan Kumar. Ed.Tr. Karnabharam and Madhyama Vyayoga of Mahakavi Bhasa.Parimal Publication; Delhi: 2005

Secondary Sources:

1. Aggarwal, Hansraj. A Short History of Sanskrit Literature. Munshi Ram Manohar Lal Publishers; Delhi: 1963

2. Altekar, Anant Sadashiv. The Position of Women in Hindu Civilization: From Prehistoric Times to Present Day. Motilal Banarsidas; Delhi: 1959

3. Arun, Rajendra. Dasharath: Man of Words. Ocean Books Pvt. Ltd; New Delhi: 2003

4. Aurobindo, Sri. The Secret of the Veda. Sri Aurobindo Ashram Press; India: 1956 

5. Bader, Clarisse. Women in Ancient India: Moral and Literary Studies. Taylor and Francis Routledge Publication; New York: 2002

6. Badlani, Hiro. G. Hinduism: Path of the Ancient Wisdom. iUniverse; Bloomington:2008 

7. Barker, Chris. Cultural Studies: Theory and Practice. Sage Publication Ltd; California: 2003 

8. Baumer, Rachel Van.M. & James R. Brandon. (ed.) Sanskrit Drama in Performance. Motilal Banrasidas Publishers Pvt. Ltd.; Delhi: 1993

9. Beissinger, Margaret, Jane Tylus and Susannee Wofford. (ed.) Epic Tradition in the Contemporary World: The Poetics of community. University of California press; London: 1999

10. Bhattacharji, Sukumari. The Indian Theogony. Cambrige University Press; London: 1970 

11. Blundell, Sue. Women in Ancient Greece. Harvard University Press; Cambridge, Massachusetts: 1995

12. Brisson, Luc. Plato- The Myth Maker. (tr.)(ed.) Naddaf Gerard. University of Chicago Press; Chicage: 2000

13. Brodbeck, Simon and Brian Black. (ed) Gender and Narrative in the Mahabharat. Routledge; London: 2007

14. Buitenen, J.A.B Van. (tr.) (ed.) Mahabharata: The Book of the Beginning. The University of Chicago Press; Chicago:1983 

15. Callahan, Kathy L. In the image of God and the Shadow of Demon: A Metaphysical Study of Good and Evil. Trafford Publishing; Canada: 2004

16. Campbell, Joseph. The Hero with a Thousand Faces. New World Library; California: 2008 

17. Campbell, Joseph. The Mythic Image. Princeton University Press; U.S.A:1974

18. Chaitnya, Krishna. A New History of Sanskrit Literature. Manohar Book Service; New Delhi: 1977

19. Chatterjee, Margaret. (ed.) Contemporary Indian Philosophy. Motilala Banarsidas Publishers Pvt. Ltd.; Delhi: 1998

20. Coupe, Laurence and Kenneth Burke. Myth: An Introduction. Routledge; New York: 2005

21. Das, Bhagvan. The Science of Social Organization or The Laws of Manu in the Light of Atma- Vidya. (vol.II ed.II) The Theosophical Publishing House; India: 1935

22. Das, Bhagvan. The Science of Social Organization or The Laws of Manu in the Light of Atma- Vidya. (vol. III Ed.II) Ananda Publishing House; Banaras India: 1948

23. Das, Gurucharan. The Difficulty of Being Good: On the Subtle Art of Dharma. Oxford  University Press; New York: 2009 

24. De,Susheel Kumar. History of Sanskrit Poetics. Orient Book Centre; Delhi: 2006

25. Dhand, Arti. Woman as Fire, Woman as Sage: Sexual Ideology in the Mahabharata. State University of New York Press; Albany; 2008

26. Doniger, Wendy. (ed.) Purana Perennis: Reciprocity and Transformation in Hindu and Jaina Texts. State University of New York Press; Albany: 1993

27. Doniger, Wendy. On Hinduism. Oxford University Place; New York: 2014

28. Doniger, Wendy. Splitting the differences: Gender and Myth in Ancient Greece and India. The University of Chicago press; Chicago and London: 1999

29. Doniger, Wendy. The Hindus: An Alternative History. Oxford University Press; New York: 2009 

30. Doty, William. G. Myth: A Handbook. Greenwood Press; Westport: 2004

31. Dowden, Ken. The Uses of Greek Mythology. Taylor and Francis: 2005

32. Doyle, Christopher. C. The Mahabharata Secret. Om Books International; India: 2013

33. Dutt Ramesh C. The Ramayana and The Mahabharata .Everyman’s library; New York: 1972

34. Dutta, Nath Manmatha. The Dharma Shastra or The Hindu Law Code. Essylium Press, Vol II; Kolkata: N.D

35. Edmunds, Lowell. (ed.) Approaches to Greek Myth. The Johns Hopkins University Press; London: 1990

36. Egenes, Linda and Kumuda Reddy.  The Ramayana –A New Retelling of Valmiki’s Ancient Epic complete and comprehensive. Tarcher Perigee; New York: 2016 

37. Ego, Psychology and the study of Mythology. Journal of the American Psychoanalytic Associations; 1961

38. Eldredge, John. Epic: The Story God is Telling. Thomas Nelson; California: 2004 

39. Feller, Danielle. The Sanskrit Epics’ Representation of Vedic Myths. Motilal Banarsidas Publishers. Pvt. Ltd; Delhi: 2004

40. Fowler, Jeaneane. D. Hinduism: Belief and Practices. Sussex Academic Press; Great Britain: 1997

41. Gadd, Maxine. Myth. Taylor and Francis; N.P: 2006 

42. Ghoshal, S.N. The Inception of the Sanskrit Drama. Calcutta Book House; Calcutta: 1977 

43. Gonda, Jan. Ancient Indian Kinship from the Religious point of view. Leiden; Brill: 1969

44. Gopalkrishnan, Sudha. Kuttiyattam: The Heritage theatre of India. Niyogi Books; New Delhi: 2011

45. Green, David & Lattimer, Richmond. The complete Greek Tragedies. (vol. IV) University of Chicago Press; Chicago: 1959

46. Guerber H.A. The Book of the Epic- The world’s great Epics told in story. Biblo and Tannen; New York: 1966

47. Haksar A.N.D. (tr.) The Shattered Thigh And Other Plays. Penguin Group; India: 1993

48. Heller, Sophia. The Absence of Myth. State University of New York Press; Albany: 2006

49. Hill, Peter. Fate, Predestination and Human action in the Mahabharata. Munshiram Manoharlal; Delhi: 2001

50. Hiltebeitel, Alf. The Cult of Draupadi: Mythologies from Gingee to Kuruksetra. Motilal Banarsidas Publishers Private Limited; Delhi: 1991

51. Hiltelbeitel, Alf. Mahabharata- A Reader’s Guide to the Education of the Dharma King. The University of Chicago Press; London: 2001 

52. Horney, Karen. Neurosis and Human Growth: The Struggle towards Self- Realization. Routledge; New York: 1951

53. Horney, Karen. Self Analysis. Routledge; New York: 2002

54. Horney, Karen. The Neurotic Striving of Our Time. Routledge; New York: 1999

55. Hutchison, Elizabeth.D. Dimensions of Human Behaviour: Person and Environment. Sage Publications; London: 2003

56. Innes, Paul. Epic. Routledge ; London and New York: 2013

57. Insight Study of Suryaputra- The most virtuous but tragic warrior from the Mahabharata: A study on Interpersonal Relationship. International Journal of English Language, Literature and Translation Studies (IJELR) M.Selvalakshmi Vol.4 Issue 1.2017 (Jan-Mar) 

58. International Library of Psychology.  Studies in Analytical Psychology. Routledge; London: 2001

59. Iyer Ramachandra,T.K. A Short History of Sanskrit Literature. R.S. Vadhyar; Kalpathi Palghat:  1977 

60. Jacobsen, A.Knut. (ed.) Handbook of Contemporary India. Routledge ; London and New York: 2016

61. Jain, Simmi. Encyclopedia of India Women through the Ages: Period of freedom struggle. Vol. 3 Kalpaz Publication; Delhi: 2003

62. Jakhotiya, Girish. P. Krishna: The Ultimate Idol. Banyan tree Books. Pvt. Ltd.; New Delhi: 2009

63. Jha, Gauri. Shankar. Current Perspectives in Indian English Literature. Atlantic Publishers and Distributors; New Delhi: 2006

64. Jung .C.G. Psychological Types. Routledge Taylor and Francis Group: London and New York: 1971 

65. Jung, C.G. (tr.) R.P.C Hull. The Archetypes and the collective unconscious. Princeton University Press; New York: 1959

66. Kala, Jayantika. Epic Scenes in Indian Plastic Art. Abhinav Publications; New Delhi: 1988

67. Kane, P.V. History of Sanskrit Poetics. Motilal Banarsidas Publishers; Delhi: 2002 

68. Karve, Irawati. Yuganta- The end of Epoch.Orient Longman Private Limited; India: 1991

69. Katz, Ruth. C. Arjuna in the Mahabharata: Where Krishna is there is Victory. University of South Carolina Press; Columbia: 1989

70. Keith, Arthur Berriedale: A History of Sanskrit Literature. Motilal Banarsidas Publishers; Delhi: 1993 

71. Keith, A.B The Development and History of Sanskrit Literature. Sanjay Prakashan; New Delhi: 2002

72. Keith.A.B. The Religion and Philosophy of the Veda and Upanishad. ( Part-I) Motilal Banarasidas Publishers Private Limited; Delhi: 1998

73. Khan, M.Q. and A.G.Khan. (ed.) Changing Faces of Women in Indian Writing in English. Creative Books; New Delhi:1995

74. Kirk, Geofrey Stephen. Myth: Its meaning and Functions in Ancient and other Cultures. Cambridge University Press; London: 1970

75. Kishwar, Madhu. Off the Beaten Track, Rethinking Gender Justice for Indian Women. Oxford University Press; New Delhi: 1999

76. Knappert, Jan. Indian Mythology: An Encyclopedia of Myth and Legend. Aquarian; London: 1991

77. Kohli, Narendra. Hidimba. Vani Prakashan; New Delhi; 2012

78. Konstan, David and Kurt A. Raaflaub. (ed) Epic and History. A John Wiley & Sons, Ltd. Publication; United Kingdom: 2010 

79. Konstan, David. Friendship in the classical world. Cambridge University press; New York: 1997 

80. Krishnamacharior, M. History of Sanskrit Literature. Motilal Banarsidar Publication Prt. Ltd; Delhi: 2004 

81. Krishnaswamy, Shata. Glimpses of Women in India. Ashish Publications; New Delhi: 1983 

82. Kumar, Nand. Indian English Drama: A Study in Myth. Sarup and Sons; New Delhi: 2003

83. Kumar, Sanjay. Manu: The Meaning of Svatantrya and its implications for Women’s Freedom. In The Journal of Religious Studies. Vol 34  P.207 to 223.

84. Kunjuni, Raja. Kuttiyattam - An Introduction. Sangeet Nayak Akademi; New Delhi: 1964

85. Lal, K.Basant. Contemporary Indian Philosophy. Motilal Banarsidas; Delhi: 1995

86. Lal, P. Great Sanskrit Play in New English Trans creations. New Directions Books; New York: 1964

87. Lauden, Bruce. The Iliad Structure, Myth and Meaning. The Johns Hopkins University Press; Baltimore: 2006

88. Leeming, David Adams. The World of Myth: An Anthology. Oxford University Press;  New York: 1990

89. Leeming, David. A. The World of Myth. Oxford University Press; New York: 1990

90. Leslie, Julia. (ed.) Roles and Rituals for Hindu Women. Motilal Banarsidas Publishers Pvt.Ltd.; Delhi:1992

91. Liszka, James Jakob. The Semiotic of Myth: A Critical study of symbol .Indiana University Press; United States: 1989 

92. Lovatt, Helen & Caroline Vout. (ed.) Epic Vision: Visuality in Greek and Latin Epic and its Reception. Cambridge University Press; New York: 2013

93. Lovatt, Helen. The Epic gaze: Vision, Gender and Narratives in Ancient Epic. Cambridge University Press; New York: 2013

94. Macdonell, A.A. Vedic Mythology. Motilal Banarsidass Publishers; Delhi: 2002

95. Mali, Joseph. Mythistory: The Making of a Modern Historiography. The University of Chicago Press; Chicago and London: 2003 

96. Mali, Joseph. The Rehabilitation of Myth: Vico’s New Science. Cambridge University Press. United Kingdom: 1992 

97. Mayo,Robert.  A New System of Mythology. (vol. III) Puiladelphia;  N.P:  1819

98. Mc Grath, Kevin. The Sanskrit Hero Karna in Epic Mahabharata. Brill Leiden; Boston: 2004

99. Mehta, Tarla. Sanskrit Play Production in Ancient India. Motilal Banarsidas Publishers Pvt. Ltd; Delhi: 1995

100. Meletinskii, Eleazar. Moiseevich. The Poetics of Myth. (tr.) Lanoue, Guy and Sadetsky, Alezandre. Routledge; New York: 2000

101. Menon, Ramesh. The Mahabharata- A Modern Rendering (vol.2). iUniverse; New York: 2006

102. Merkur, Dan. Psychoanalytic Approaches to Myth: Freud and the Freudians. Routledge; New York and London; 2005 

103. Miles, Geoffrey. (ed.) Classical Mythology in English Literature: A Critical Anthology. Taylor & and Francis; New York: 2009

104. Miles,Geoffrey. (ed.) Classical Mythology in English Literature: A Critical Anthology. Routledge; London: 1999

105. Miller, Arthur. G.(ed.) The Social Psychology of Good and Evil. The Guilford Press; New York: 2004

106. Motilal, B.K. (ed) Moral Dilemmas in the Mahabharata. Motilal Banarsidas; Delhi: 1989

107. Muller, Max. Essays on Mythology Traditions and customs. (vol.II). Longman Green and Co; London: 1867 

108. Narayan R.K. The Indian Epics Retold The Ramayana, The Mahabharata, Gods, Demons and others. Penguin Books India Pvt. Ltd; New Delhi: 1995

109. Narayan R.K. The Mahabharata.  Penguin Books Pvt. Ltd; U.K: 2001

110. O’Flaherty, Wendy Doniger. Hindu Myths. Penguin Books; New Delhi: 1994

111. O’Flaherty, Wendy. Doniger. The Origin of Evil in Hindu Mythology. University of California Press; London: 1979

112. O’Flaherty, Wendy. Doniger. The Origins of Evil in Hindu Mythology. Motilala Banarsidas; Delhi: 1976

113. O’Flaherty, Wendy. Doniger.(ed.) Karma and Rebirth in Classical Indian Traditions. University of California Press; London: 1980

114. Ollhoff, Jim. Greek Mythology. ABDO Publishing Company; United State of America: 2011

115. Ollhoff, Jim. The World of Mythology: Indian Mythology. ABDO Publishing Company; United State of America: 2012

116. Paranjpe, C.Anand. Self and Identity in Modern Psychology and Indian thought. Kluwern Academic Publishers; New York: 2000

117. Pattanaik, Devdutt. Indian Mythology: Tales, Symbols and Rituals from the Heart of the Subcontinent. Inner Traditions Rochester; Vermont: 2003

118. Pattanaik, Devdutt. JAYA- An Illustrated Retelling of The Mahabharata. Penguin Books; New Delhi: 2010

119. Patton, Laurie. L & Wendy Doniger (ed.) Myth and Method. University Press of Virginia; Charlottesville and London: 1996

120. Piccardi. L and, W. B. Masse.  Myth and Geology. The Geological society; London: 2007

121. Plato and Tayer Lewis. Plato – Against the Atheists. Harper and Brothers; New York: 1845 

122. Poor S.Sara & Jana K. Schulman (ed) Women and Medieval Epics. Gender, Genre and the limits of Epic Masculinity. Palgrave Macmillan; New York: 2007 

123. Pruthi.R.K. (ed.) The Classical Age. Discovery Publishing House; New Delhi: 2004

124. Puniyani, Ram. (ed.) Religion, Power and Violence, Expression of politics in Contemporary Times. Sage Publications India Pvt. Ltd.; New Delhi: 2005

125. Raglan, Lord. The Hero- A Study in Tradition, Myth and Drama. Dover Publication; New York: 2003 

126. Rajagopalachari, Chakravati.  Mahabharata. Diamond Books Pvt. Ltd; New Delhi: 2005

127. Ramen, Fred. Indian Mythology. The Rosen Publishing Group Inc; New York: 2008

128. Rangacharya, Adya (ed.) (tran.) Natyasastra: English Translation with Critical Notes. IBH Prakashan; Banglore: 1986

129. Rank,Otto. The Myth of Birth of the Hero. A Psychological Interpretation of Mythology. (Tr.) George C. Richter and E. Jamesberman. The Johns Hopkins University Press; London: 2004 

130. Rao, Ramakrishna.K. & Anand. C. Paranjpe. Psychology in the Indian Tradition. Springer; New Delhi: 2016

131. Roy, Kaushik. Hinduism and the Ethics of Warfare in south Asia: From Antiquity to the Present. Cambridge University Press; New York: 2012

132. Russell, Ford. Northrop Frye on Myth. Routldge; London: 2000

133. Sansonese, Negro. Prologue of the Body of Myth: Mythology, Shamanic Trance, and the Sacred Geography of the Body. Inner Tradition International; Vermont USA: 1994 

134. Sastri, Gourinath. A Concise History of classical Sanskrit Literature. Motilal Banarsidass; Delhi: 1960 

135. Schwarts, Susan. L. Rasa: Performing the Divine in India. Columbia University Press; New Delhi: 2004 

136. Scott, Michael. Ancient Worlds: An Epic History of East and West. Hutchinson; London: 2016

137. Segal, Robert.A. Theorizing about Myth. BookCrafters. Inc; USA: 1999

138. Shalom, Naama. Re- ending The Mahabharat: The Rejection of Dhrama in the Sanskrit Epic. State University of New York Press; Albany: 2017

139. Shekar,I. Sanskrit Drama :Its origin and decline. Munsiram Manoharlala Publishers Pvt. Ltd; New Delhi: 1977

140. Singh, Nagendra. Vedic Mythology. A.P.H Publishing Corporation; Delhi: 1997

141. Sinha, Atulkumar & Abhay Kumar Singh (ed.)  Udayana : New Horizons in History, Classic and Inter Cultural Studies. Anamika Publishers & Distributors Pvt.Ltd; New Delhi: 2007  

142. Sinha, Jadunath. Indian Psychology: Emotion and Will. Vol.II Motilal Banarsidass Publication; New Delhi: 1986 

143. Siyuan, Liu.   Handbook of Asian Theatre. Routledge Taylor and Francis Group; London and New York: 2016 

144. Stookey, Lorena. Thematic Guide to World Mythology. Greenwood Press; West Port U.S.A: 2004

145. Strauss, Levi. Myth and Meaning. Routledge Classic; London and New York: 1978

146. Sutton, Nicholas. Religious Doctrines in the Mahabharata. Motilal Banarsidas; Delhi: 2000

147. Tagore, Rabindranath. Karna and Kunti. Collected Poems and Plays. Macmillan; London: 1950

148. Thorner, Alice & Maithreyi Krishnaraj (ed.) Ideals, Images and Real Lives: Women in Literature and History. Orient Longman; New Delhi: 200

149. Turner, Frederick. Epic: Form, Content and History. Transaction Publishers; London: 2012 

150. Tylor, Edward. Primitive Culture: Researches into the Development of Mythology, Philosophy, Religion, Art and Custom. (vol I) Bradbury, Evans and Co. Printers; London: 1871

151. Wheatley, Chloe. Epic, Epitome and the Early Modern Historical Imagination. Ashgate Publishing Company; U.S.A: 2011

152. Wilkins, William. Joseph. Hindu Mythology, Vedic and Puranic.  William Clowes and Sons Limited; London: 1882

153. Wilkinson, Philip & Neil Philip. Mythology. Dorling Kindersley; New York: 2007

154. William, George. M. Handbook of Hindu Mythology. Oxford University Press; New York: 2003

155. William, M. George Handbook of Hindu Mythology. Oxford University Press; New York: 2003

156. Williams, George. M. Handbook of Hindu Mythology. ABC-CLIO. Inc; California: 2003

157. Winternitz, Moriz. History of Indian Literature. Motilal Banarsidass Publication; Delhi: 1963 vol. III 

158. Witzel, Michael. The origin of the worlds’ Mythologoies. Oxford University Press; U.S.A:2012

159. Woods, Julian. F. Destiny and Human initiative in the Mahabharata. State University of New York Press; Albany: 2001

160. Zimmer, Heinrich. (ed.) Joseph Campbell. Philosophies of India. (vol.20) Routledge publication; London and New York: 2009

WEB WORLD

1  www.jatland.wm/home/yugandhara

2  https://books.google.co.in/books? 

3  www.wisdomlib.org/definition/yugandhara

4  https://en.wikipedia.org/wiki/Udayana 

5  http://www.manuscrypts.com/myth/2011/02/16/udayana

6  https://en.wikipedia.org/wiki/Svapnavasavadattam

7  http://www.iosrjournals.org

8  https://www.jstor.org

9  http://en.bookfi.net

10  https://muse.jhu.edu

12  https://www.elsevier.com 

13  http://onlinelibrary.wiley.com/journal

14  http://www.tjprc.org/journals

15  http://www.academicjournals.org/journal/IJEL

16  http://www.rjelal.com

17 http://www.questjournals.org

18  http://www.scijournal.org

 19  www.indianscriptures.com

20  www.Yayanika.org

21  www.shodhganfa.inflibit.ac.in

22  www.manuscrypts.com

23  www.languageinindia.com

24  www.quara.com

25 www.ijelr.in

Dr Swati Joshi

Gujarat 

ठुमरी की नामचीन गायिकाएं।

 ठुमरी की नामचीन गायिकाएं। 

1. गौहर जान 

2. जानकी बाई  

3. बेगम हजरत महल

4. बेगम अख्तर

5. रसूलन बाई

6. सिद्धेश्वरी बाई

7. जिद्दन बाई

8. बड़ी कनीज 

9. लाड़ली बाई

10. टॉमी बाई

11. दुलारी बाई

12. मुख्तर बेगम

13. उमराव जान अदा 

14. मलका जान आग्रेवाली

15.राजेश्वरी बाई

16. काशी बाई

17. हुस्ना बाई 

18. विद्याधरी बाई

19. बड़ी मोती बाई 

20. केसर बाई

21. सितारा देवी

22. सृजन बाई

23. जोहरा बाई आगरा वाली

24. सुंदरा बाई

25. मुनिया बाई

26. सरस्वती बाई

27. बैजंती बाई 

28. हीरा बाई 

29. बड़ी मैना बाई

30. सुगना बाई

31. मंगू बाई 

32. जनी बाई मालपेकर

33. नूर बाई 

34. उमा बाई 

35. जीनत बाई 

36. रहिमन बाई 

37. पन्ना बाई 

38. कमल बाई 

39. नन्ही बाई 

40. चंद्रभागा बाई 

41. चित्रा बाई 

42. खुर्शीद बाई

43. चंदा बाई 

44. अमानी जान 

45. सुंदर बाई

46. लतीफन बाई 

47. सरफो बाई

48. संधू बाई

49. धूमन बाई 

50. छुट्टन बाई 

51. मोहम्मद बांदी

52. अल्लाह जिलाई बाई 

53. तन्नो बाई

54. अशगरी बाई 

55. इंदुबाला देवी 

56. गिरजा देवी 

57. मुख्तर बेगम

58. अजीजन बाई 

59. रोशन आरा बेगम बांबेवाली

60. अनवर बाई लखनवी 

61. तमंचा जान आका गुलज़ार बेगम

62. जानकी बाई  मारवाड़न / उदयपुर

Dr Manish Kumar Mishra

Assistant professor

Department of Hindi

K.M.Agrawal College

Kalyan west

Maharashtra 

लड़ते हैं लेकिन भरोसा बना रहता है

 लड़ते हैं लेकिन भरोसा बना रहता है

छट जाता है जो कोहरा घना रहता है।

जिन रास्तों पर - "कार्य प्रगति पर है।"

ऐसे रास्तों पर तो चलना मना रहता है।

कोई साथ हो न हो तुम हौसला रखना 

यूं भाड़ फोड़ने अकेले ही चना रहता है।

जो नींव पड़ जाए फ़िर मकान बनाना

जड़ों के बिना पेड़ कहां तना रहता है।

उन्हें रावणी खानदान कहते हैं गांव में

जिनके बीच रोज़ ही कुछ ठना रहता है।

Dr Manish Kumar Mishra

Kalyan 

मैंने बस उसी यार की सदा मांगी है

 मैंने बस उसी यार की सदा मांगी है 

जिस ने मेरे मरने की दुआ मांगी है।

मैं सच बोलता रहा बड़ी गलती हुई 

अपनी गलती के लिए सज़ा मांगी है।

होली दिवाली और ईद हो साथ साथ

मुल्क के वास्ते ऐसी ही फिज़ा मांगी है।

दंगे फसाद और दहशतगर्दी बहुत हुई

मैंने इनकी इस मुल्क से रजा मांगी है।

राहे इश्क में उम्मीद बड़ी चीज़ होती है

हमने भी एक बेवफ़ा से वफ़ा मांगी है।

डॉ मनीष कुमार मिश्रा

सहायक प्राध्यापक

हिंदी विभाग

के एम अग्रवाल महाविद्यालय

कल्याण पश्चिम

महाराष्ट्र ।

Efforts of Sex Education during 20th century in India

 

National Conference on DHARA: Bharatiya Paramparik Krishi Mela

 

Namaste,

Warm Greetings from IKS Division of MoE

National Conference on DHARA: Bharatiya Paramparik Krishi Mela will be held at Tezpur University from 4^th to 6^th June 2023.  Theme-based event of the series called ‘DHARA: An Ode to Indian Knowledge Systems’ which is organized by the Indian Knowledge Systems (IKS) Division of the Ministry of Education, in collaboration with the Ministry of Culture, Government of India. 

The link for Registration is given below: 

Participants registration link https://forms.gle/G7fjP8BnHsX9YmUJA 

Also attached is the brochure of the event with the schedule.

Looking forward to a good response.

--

Thank you & regards,

Team IKS

Indian Knowledge Systems, AICTE,

Nelson Mandela Marg, Vasant Kunj, New Delhi.

Tel No: 011 29581523

Email:  coiks@aicte-india.org   Website: https://iksindia.org/

शारीरकविमर्श विषयक राष्ट्रीय संगोष्ठी

 आदरणीय महोदय/महोदया,

श्रीशंकर शिक्षायतन वैदिक शोध संस्थान, नई दिल्ली दिनांक 30 मई 2023 को सायंकाल 5:00-7:30 बजे तक शारीरकविमर्श विषयक राष्ट्रीय संगोष्ठी का समायोजन करने जा रहा है। इस कार्यक्रम में आप सादर आमन्त्रित हैं। गूगल मीट के माध्यम से समायोजित होने वाली इस राष्ट्रीय संगोष्ठी में सम्मिलित होने का लिंक नीचे दिया गया है। कृपया संलग्न आमन्त्रण पत्र स्वीकार करते हुए अधोलिखित लिंक के माध्यम से पंजीकरण कर अपनी सहभागिता सुनिश्चित कीजिए। हम आशा करते हैं कि आप निर्धारित तिथि को इस संगोष्ठी में अपनी गरिमामयी उपस्थिति से हमें अनुगृहीत अवश्य करेंगे।  

पंजीकरण लिंक : https://forms.gle/u95wv79PmckiY95e6

गूगल मीट लिंक : https://meet.google.com/jvb-ebmh-hbn

 

--

Regards,

Shri Shankar Shikshayatan

(Institute of Vedic Research)

D 6/25, Vasant Vihar

New Delhi- 110057

Contact: 011-68228078

Sanskrit Drama - Dr Swati Joshi

 Myth has remained a major source for literary works. Many authors of the world have used myths of their country and culture to write literary works. Bhasa is one such writer who has taken help of the Indian myth for writing his plays. The myth of the Mahabharata has remained major source for Bhasa to compose his plays. Most of his plays just like Karnabharam (The Burden of Karna), Dutavakyam,(The Embassy) Ghatotkacam,(Potsherds As An Envoy) MadhyamaVyayoga,( The Middle One) Pancaratram, (The Five Nights) Urubhangam,( Karna’s Task) are based on the myths of  the Mahabharata where as  Abhishēka- Natakam (The Consecration), Pratima-Natakam (The Statue Play) based on the myths of the Ramayana. Bhasa has taken historical background plays like The Minister’s Vow and The Vision of Vasavadatta depend upon the history for the theme and subject matter to deal with mythical concept. 

The plays of Bhasa’s are completely based on the conflict of humans in a dialogue form. Bhasa’s not only main characters seem to be real and related with contemporary modern society but also his minor characters are represented without any disingenuousness. The charms of his characters are still with us as these characters will never be evaporating from the mind and heart of the person who reads. The characters of Bhasa touch the soul of the reader. The major and minor characters of Bhasa represent every aspect of contemporary modern society. All the characters as Duryodhana, Bharata, Vasavdatta, Udayana, Hidimba, Karna, Madhyama, Bhima, Udayana, Gandhari etc, are among us even in the contemporary modern society. It can be said that Bhasa himself was a great psychologist who has given soul to his character by presenting them on psychological and sociological perspective. Bhasa must not know the word psychological or archetypal perspective, sociological, feminist perspective, philosophical perspective but he is well equipped with the study of the mind of humans and their issues which is associated with their life and still in continuation in the contemporary modern world. 

Bhasa is not the author simply to repeat and represent the myth of those scriptures in his plays. He reconstructs myth, gives a new interpretation to myth and makes it relevant to present day life situation. The success of Bhasa as a playwright is to be found in his achievements that every play that he wrote has been made relevant by giving a new interpretation to the myth.  Bhasa has given chance to expand authority of interpretation, has given new sense of creativity by giving unique narration of his dramas, he has given various perspective of characters, at last but not least a new and different message to contemporary society. 

The mythical concept is represented by his characters, events, incidents, and by the narratives of dramas. Though his plots are from different era he become successful in representing the mythical concept of that particular time. The work is to find out the myth in all selected dramas and showing their reinterpretation with the contemporary context. That symbolizes that how these myths are related even in the contemporary society and what are the medium to represent different myths. 

Any myth Ancient or Modern, it never loses its relevance. The appeal of myth is ever lasting and its relevance can be found or established in any age. It makes myth a living entity. When myth loses its relevance, it remains no more myth. Relevance of myth means how much a given myth is applicable in modern context if it has something to teach, something to preach, something to comment and something to instruct in the light of modern era, it proves the relevance of that myth. Myth can be seen as the enlightenment of life, the significance of life, function of life. Each and Every Myth has its own particular format and thematic intelligence. Myth which we find in the plays of Bhasa whether based on Epics or History, they have an appeal to make in the modern context and so they can be considered plays with the appeal of myth in the modern context. Bhasa has personalized myths which indicated that Bhasa wanted to talk about present issues making primordial figure as his weapon. Bhasa has tried to bring together culture, myths and literature. Myths can be seen from two perspectives. 

1 Rearrangement 

2 Parallelisms 

Relocation or Rearrangement symbolizes the straight use of mythical characters and events but with some essential amendment. Parallelism stands for relating some significance of particular uniqueness from primeval reproduction with the circumstances and characters of contemporary modern society. When there is a discussion on myth then all the characters, settings and events of the narrative are converted into the complicated but meaningful signs as for examples Duryodhana becomes the symbol of war ethics, Karna as a sacrificial image but with some unconscious purpose of mental urge, as Dhritrashtra and Gandhari symbolizes a silence but can feel the human emotions, Bhima as corrupted dishonest warrior, Vasavadatta and Bharata symbolizes the victims of politics and conspiracy, Ahwathama symbolizes animal cruelty in the form of human, infertile brainpower is symbolized by Sanjay and Vidura, Krishna symbolizes as mere the outside player , Sita symbolizes a category of being good wife by doing sacrifice and Kaikeyi symbolizes a category of terrible woman who demanded and become notorious in the world, etc. These characters represents that the formation of myths are based on certain beliefs and policies, which cultivate the principles of the edict category. Myths are full of lots of communication and counter discussions. Sometime Myths play the role of analytical, based on certain role and on the particular models the judgment is given on the people’s conduct as Rama as an ideal personality with all his duties.

  It can be concluded into the following manner. Genuine endeavor has been prepared to see the plays of Bhasa from the various perspectives. 

1Relevance of Myths in The Broken Thighs, The Burden of Karna, and The Middle One in the Contemporary Context. 

2 Relevance of Myths in The Statue Play in the Contemporary Context. 

3 Relevance of Myths in The Minister’s Vow and The Vision of Vasavadatta in the Contemporary Context.  

It is believed that Myths can be judged on the scientific or logical basis, but the findings of the study tried to see the six plays of Bhasa from different perspective as psychological, social, philosophical, emotional and intellectual basis. These various perspectives have given wide ground to see myth and to relate it with the contemporary context. Myths are everywhere in the society sometimes comes to us in oral form, sometime written, sometime as narratives and sometime we ourselves gain and accept the myths. Family is the first source for a new born baby to deal with the different myths of the society and culture. As for example, the myth of sacrifice which is represented by Karna in The Burden of Karna’. In Indian mythology the character of Karna is accepted as an image of great sacrificial image. The research of mine asks a question that why he has done this great sacrifice and what was the reason behind it. I have tried to see his character from the psychological perspective and I found that Karna was an abandoned child, abandoned youth, never got fame and place in the society. Somewhere in his unconscious mind there was an urge of his to get place and recognition in the society.  By giving his Kavach and Kundala he got the place in myths and become a great sacrificial personality. But the myth of sacrifice does not considered as to give everything even life for the sake of doing sacrifice. The question is that is it a healthy sacrifice? Karna knew that if he will give his Kavach and Kundal then he will lose his life but he considered recognition larger than life. The character of Karna reflect that even myths have psychological touch and the psychological understanding will give new lights to the new generation who are struggling to understand and accept the various myths of the past and it also help them to deal with the myths in their routine life and to decide the purpose of their life. It is highly relevant with the contemporary society that merely acceptance of myth is now not important but to understand it on various levels is important. Even in the contemporary society there are many people who are interested in doing sacrifices but why they are doing it. One has to be ready to find out the reason that there are always certain purpose behind doing any action, yes it would be better to say that the intentions may be at conscious mind or may be sometime at unconscious mind. The second example which shows the concept of the myth of sacrifice is King Dashrath, who has also done sacrifice because of his oath (Vachan). He knew that because of his decision what will be the result, but I have again question that is it a healthy sacrifice? He looses his life because of his oath and sacrifice. These two examples show that the situation, background, circumstances of previous time was different than the present contemporary modern society or world. The myths which we accept and blindly follow without understanding, without knowing the exact situation that may create problems in life. The character of Karna and King Dasrath also symbolizes excessive action. Even in the Contemporary modern life people are doing excessive action which resulted in rape, acid attack, murder, fraud, conspiracy, prostitutions, terrorist, etc. When you will do excessive action or take excessive decision then it will affect others also. So it can be said that myths symbolizes something  significant for the contemporary society but only thing is that we need eyes and open brain to understand and accept it. The character of Duryodhana which is represented by Bhasa as a hero of the play is again symbolizes the laws of war field and ethics of war. Duryodhana lost his fight and died just because he followed all the ethics of war with honesty and Bhima won because he cheated and did not act according to the ethics of war. The genuine attempt required the answer that is the winning situation of Bhima acceptable? Even in contemporary society people are doing the same thing just to win and they are ready to do anything to win. This mind set lead them to commit a crime. The myth of ethics has been challenged by people from a long time and still it is in continuous process. After knowing the breaking of myths of ethics and its result even in contemporary society people are not learning any lesson. From the time to Bhasa to till date almost every writer try to say the real meaning of using Myths in their work, and its relations with the contemporary modern world. Because of the genuine attempt it is possible to relate the myths of the Mahabharata, the Ramayana and some historical plays, with contemporary society but just relating is not important. It has its value when it is understood by societal people and also applicable in their routine life to make their life ideal, respectful and happy.  Bhasa did his genuine and genius works not only with the male characters but also he has done justice with the female characters and relates his female characters with the contemporary context. His female characters as Gandhari, Vasavadatta, Sita, Hidimba, Kaikayi, Padmavati, Malavi, Puravi, other minor female characters as Kaushalya, Sumitra, Hamsaka, Vijaya, Salaka etc. They are represented from different perspective as they were represented in their respective epics and historical background. These female characters are at their best performance to say something based on myths and attempt has been made to relate them with contemporary society. As for instance Kaikai who is considered as she is the responsible for the exile of Ram but Bhasa has presented with a different perspective that Kaikeyi become the medium of destiny, and it is mandatory for Rama to go exile and then to kill Ravana. But the study remarks that in both the situation a woman has to suffer, has to become victim in the society and it continues even in the contemporary context. Another example is Sita who is considered as great wife because she went with Ram but if she will not go with Rama for exile then what would be the category for her. It is still in there in contemporary society where we see woman and accept her as wife, sister, mother, daughter but we are not ready to accept her as a woman, as a human being. Another example is Puravi and Malavi who is the wife of Duryodhana. They both cry and feel themselves as they will be alone after the death of their husband. To cry is a part of sentiments or emotions but to take pride for something very brilliant is also a part of sentiments. They both should be proud on the Royal, ethical and brevity of their husband. Their husband fought like a Royal tiger with war ethics, hurt and then died. But these two women did not feel it and even not expressed it. The reason behind it is that they are not taught that even woman can feel pride or express something else than the tears in her eyes and just to cry is her role and she will be considered as a woman when she will cry. If a woman is strong, ready to fight and do not want to cry, want to demand something, not ready accept others decisions, do not want to sacrifice  then she is not considered and accepted as good woman or ideal for marriage, or to be the part of the family. ‘Woman should be mute and weak’ this mentality prevails in the society. Bhasa has beautifully presented a feminist perspective through his female characters which is still related with the contemporary context. 

The events are also related with the contemporary context as War field in The Broken Thighs, exile scene and family background of Rama’s family, the political background and narrative in The Vision of Vasavadatta, the forest scene in The Middle one, and the psychological and social pressure scene of Karna in Karna’s Task etc. are still with us in our life what we requires only reinterpretations of myths and its relations with contemporary context. We have every day war like situation where we break social and moral ethics every day sometime consciously sometime unconsciously. We have to face politics everywhere around us and we have to be sometime victim of politics and sometime we have to make others victims of politics. The forest scene of The Middle one symbolize that we are alone and helpless in our life where we need the support and help of others. In contemporary world for the sake of family and family members we have to go outside and leave them alone because we are forced to do it even in contemporary context. The psychological and social of Karna which is represented by Bhasa is still with us in form of “To be or not to be.” All these examples are the matters of reinterpretations of myths. 

According to G.S.Iyer, 

“In the case of Bhasa, his works do not just constitute great literature but are still eminently stage worthy. We must remember that for many centuries they were virtually the only classic plays that were used for presentation on stage through the elaborate medium of Koodiyattam. At the same time his crisp dialogues, innovative use of mythological episodes the vivid portrayal of characters both major and minor and his intense awareness and faithful presentation of the human condition is an unvarnished manner ensure that he remains relevant and can be staged comfortably to a present day audience.”1

To conclude it can be said that Bhasa’s characters, situations, events, narratives, language, dialect, are directly or somewhere indirectly related with myths, some time in form of symbols. These myths are saying something hidden but rationale to the human beings and send a message which we have to decode with our understandings and intellectuals. These myths are related with contemporary context but the forms, methods and level of representation and reinterpretation is different. No one can live his life without the touch of myths and myth’s relevance with the contemporary context. Bhasa has done a great job which does reinterpretations of Myths in Contemporary context and will continue to guide us as according to the changes of the time. The Plays of Bhasa will be the medium to make us aware of different myths and its reinterpretation will create a good repo with the contemporary context. Myths will be with us till we are alive and will show the directions towards a good life forever.

Dr Swati Joshi

Gujarat 

कोहरे में छनकर धूप उतर आई है

 

कोहरे में छनकर धूप उतर आई है

कागजों में खेतों तक नहर आई है।

इस पूरे दिन का इंतजार पूरा हुआ 

शाम वो खिड़की में नज़र आई है।

समंदर सा बड़ा दिल होना चाहिए

मेरे पैर धोने उसकी लहर आई है।

बारिश की बूंदों से खेलती लड़की

सुना कल ही गांव से शहर आई है।

दिल्ली होकर जो चल रही है हवा 

सांसों के लिए लेकर ज़हर आई है।

Dr Manish Kumar Mishra

Kalyan 

12th class HSC result of Maharashtra

 

Cultural Appropriations of the Mahabharata

 

Plot Construction of Svapna-Vasavadattam (The Vision of Vasavadatta)

 Plot Construction of  Svapna-Vasavadattam (The Vision of Vasavadatta)  

Dr Swati Joshi 

The first act of the play begin with the speech of stage manager, and when he is about to finish his prayer he hears some disturbing noise behind the curtain. The stage manager hears that princesses Padmavati was asking for the place to move because she in on the way.

“Out of the way, there! Away sir out of the way”32 

Soon after stage manager Yougandharayana and Vasavdatta enter in the disguise of mendicant and Vasavadatta as his sister. She feels uncomfortable first but then Yougandharayana makes her comfortable. Yougandharayana come to know that Padmavati is also coming to visit hermitage to give regards to his mother and for a night Padmavati will stay here. Vasavadatta likes Padmavati and her loving and noble nature after seeing her. Padmavati salutes the lady hermit who is her mother queen. Yougandharayana feels that it is the correct time to go and talk to Padmavati. Yougandharayana sends a message to the Padmavati for the meeting through the chamberlain and asked for the boon. Yougandharayana politely asked to Padmavati that Vasavadatta is his sister and her husband is not with us for some time and request her to take her for few months as maid. But Chamberlain stopped him. Padmavati is in confused state of mind but finally she says yes to keep Vasavadatta for few months and ready to take her guardianship. 

“Wealth it would be easy to give, or ones’ life, or the fruit of austerity. Anything else would be easy, but hard is the guarding of a pledge.”33 

During the same event a Brahmin boy who is the research scholar of theology came over there from Lavanaka, a place in Kausambi and asked for a place to rest because he was very tired and shocked to see so many ladies in the hermit’s hut. He was given comfortable level by the chamberlain and refreshments also. The student is main key of the drama that leads to twist where the boy discusses the incident of fire and the death of Vasavadatta and Yougandharayana. The student discusses love and affection of king for Vasavadatta the pain of king can easily be seen. Then suddenly the maid asked the question that will king go for another marriage? Padmavati feels very sad and shows sympathy and affection for the king Udayana and appreciated his love for his love. The chamberlain declared that it is the time to leave and Padmavati and Vasavadatta salutes the lady hermit and leave the place. 

“No love birds so lament their loss, nor even those that are bereft of fairy brides. Happy the woman who is thus loved by her lord: consumed by fire, but by reason of her husaband’s love not consumed by woe.”34 

Act II informs us that Vasavadatta is settled in the palace of Padmavati where Padmavati was playing a ball game with Vasavadatta and other maids. Then Vasavadatta shows his red hands that symbolize the raga to love. Vasavadatta asked many questions to Padmavati to know the thinking of her towards her husband Udayana. During the conversation Padmavati was informed that King Udayana is coming for the Betrothal (task where a person becomes engaged for the marriage). Hearing the news Vasavadatta was shocked and even not able to express her pain also and she begins to doubt the love of king towards her. 

But soon she received the news from the other maid that Udayana is not ready for the marriage but there is a pressure from Darsaka. Padmavati is informed by other maid that the queen send for her a thread for nuptial. At the end of the act II Padmavati and other maids left and Vasavadatta tries to sleep. 

“The more they hasten, the deeper the gloom in my heart.”35 

The third act describes the sad condition of Vasavadatta where she is sitting alone in the garden and others are doing preparation for the marriage of Padmavati. Vasavadatta has been given the task by one maid, of preparing the marriage wreath garland for the Padmavati with flowers because Vasavadatta is very noble, affectionate and caring. She is the right person for it. Vasavadatta in the anguish state begins her work. Vasavadatta soon got the news that the bridegroom enters the courtroom. Vasavadatta loses control on her emotion and left the place and feel that sleeping will rescue from the great pain and she tries to sleep in her bed. 

“My noble lord is now another’s. Heaven help me! I’ll to bed; it may soothe my pain, if I can sleep.”36 

Act IV begins with the celebration and joyful atmosphere after the marriage of the Padmavati and Udayana. Vidusaka a glutton person informs about successful completion of marriage. Padmavati and Udayana asked by the maid about their completion of bath. Vidusaka asked the maid to bring the food for the king.

“Here we have a unique kind of love leading to the highest sacrifice on the part of the heroine, that is choosing to live away from him and allowing him to marry a second wife.”37 

There is the entry of Padmavati and Vasavadatta (in disguise of maid Avanika) in the garden where they are doing conversation. Padmavati tells Vasavadatta that she is in love of Udayana and without her she feels distressed. Vasavadatta asked to Padmavati that you asked your husband to teach you lute, Padmavati replies that she has already asked but Udayana turned away his face and did not reply. Padmavati somewhere understood that King Udayana has still fresh memory of Vasavadatta and not able to accept Padmavati. After some time King and the Jester come to the same garden and start doing conversation. The King Udayana there accepts that his heart is still for Vasavadatta, and starts crying. Padmavati listens the conversation and tries to console the king. 

“Padmavati I much admire for her beauty, charm and virtue, and yet she has not won my heart still bound to Vasavadatta.”38 

It can be said that act V of the play is the chief part of the play that gives worth appreciation to title as well to plot. In this act Padmavati become ill and king Udyana went there to see Padmavati in the sea room. But when the king was at the room there was no one in that room and Udayana finds that the bed is untouched and Padmavati has not occupied the bed yet. He was waiting for Padmavati but his heart and mind still remember Vasavadatta at that time. King Udayana falls asleep on the same bed.  At the same time Vasavatta enter into the sea room to comfort Padmavati for her sudden illness. She was under the impression that Padmavati was sleeping on the bed but later she realized that it was not Padmavati but King Udayana. She was also sitting near the bed and in the deep sleep she heard her name which is pronounced by king Udayana. King Udayana asks some question and Vasavadatta was also somewhere in sleeping mode replies but after sometime she realized that it was king Udayana and not Padmavati. Udayana tries to hold her hand and the touch of her hand causes realization in Udayana that he has seen Vasavadatta.  Vasavadatta has already left the place and then there is the entry of the Vasantaka who after knowing the incident tries to console the king that it was just a dream and nothing else. This is the famous dream scene of the play. Soon the news come from the Darsaka that Rumanavan the chief commander comes with a great army and even the vast army of Magadha king is ready to stand in support of the Kind Udayana to rebel against the King Aruni. Then Udayana comes back as the king and takes the charge of the army to fight with Aruni. 

“I shall see that Aruni, adept in dreadful deeds and in the battlefield, surging like a mighty ocean with huge elephants and horses, with a lashing spray of arrows on the wing- I will destroy him.”39 

The last act is at Kausambi. The Vatsa Kingdom again re-establishes. The love and pain of King Udayana again come with the presence of lute Ghoshavati. 

“My passion for a long time dormant, has been awakened by the lute but the queen who loved this lute, I cannot see.”40 

When the king was lost in his pain and loves for Vasavadatta a messenger comes there and gives the news that everything is forgiven by Ujjain King Mahasena and now he accepts the marriage of Udayana and Vasavadatta and considers Udayana as his son-in-law. Mahasena has sent the proxy picture of Vasavadatta and Udayana which is used for the marriage ceremony.  Padmavati notices the picture and finds out the resemblance of Vasavadatta with the Lady of Avanti. Suddenly Yougandharayana appears in disguise and asked for her sister. But till that time the whole plot is revealed which is done by Yougandharayana and Vasavadatta. The minister Yougandharayana forgiven for his plot and king Udayana takes the decision to go to Ujjain along with both the queens. 

“Modern Critics uniformly agrees that The Vision of Vasavadatta is by far Bhasa’s finest work and that it was unmistakably composed by him.”41 

Relevance of The Vision of Vasavadatta in the Contemporary Context

Udayana after marrying Vasavadatta neglected his duties as a king. Yougandharayana could see the impending dangers on the borders especially army which was ready to attack Kosambi. Yougandharayana plots with Vasavadatta to have an alliance with King of Magadh by marrying Udayana to Padmavati and he tells that the profits are favoring this marriage. Indian History gives many examples as Prithviraj Chauhan of Kanoj was mad after Sanyogita more known as “Sanyugta” because of which Kanoj was attacked by the invader Mohammad Gori and the war was lost by Prithviraj Chauhan. 

“A Version or respect arises from one’s purpose. Because I am so eager to see her wedded to my master, I am inspired with great devotion.”42 

There is a mythical concept of image of King. A King must be having certain qualities. Though King Udayana was not able to perform his duty well and because of him his kingdom has to suffer. Even in the contemporary society if the higher position persons are not performing their duties and because of that the nation has to suffer. 

Vasavadatta herself involves into the plot and thinks of Padmavati as her sister and she is also ready to share her husband’s love for the sake of the nation. It was difficult to convince Udayana to marry Padmavati with Vasavadatta so Yougandharayana spreads a rumor that Vasavdatta and he himself burn alive in a fire accident during king’s journey. Padmavati was also travelling and Yougandharayana introduces Vasavadatta as his sister and leaves her in the care of Padmavati. 

Padmavati treats Vasavadatta well and Vasavadatta also praises the beauty and words of Padmavati. As she said, 

“Her words are as sweet as her looks.”43 

Mythically girls are the reservoir of kindness lone affection so is Vasavadatta. She shows all good and positive quality and at no place we see the traces of jealously in her. There was no question of dispute among wives like jealously, competitions and envy. Mythically there was no question of jealous among wives like jealously, competition and envy among the three wives of King Dashrath, so at the same time there was no such malice in Vasavadatta. Girls of Royal families were born and brought up with a view to live in with more than one wife. For example Kunti and Madhvi the wives of Pandu lived like sisters.  But here the situation is different from the above condition Vasavadatta has to go from her husband’s life and then Padamavati will enter for the political pressures. Kunti and Madhvi they are not in position to sacrifice but here Vasavadatta has to sacrifice her position as the wife of Udayana. Vasavadatta has no option to ask for the choice, it is believed that she is made to do sacrifice and even she is not allowed to show the feeling of jealousy towards Padmavati. But here the question arises is that like the character of Karna who has done sacrifice for his hidden self that is to want in a reputation in the society because he was abandoned child and always neglected and discarded by mother, teacher and other family members. But here the same theory is not applicable to Vasavadatta as she is born and brought up in the royal family and everybody has given proper love and care to her. But here the problem is not her unconscious psychological demands. The problem is here that she is a woman who is always seen mythically made to do sacrifice and her sacrifice is not given respect, credit and recognitions in the society. Vasavadatta was not having rights to say yes or no only she will have to accept the situation willingly or unwillingly. Psychologically Vasavadatta is not ready to accept the marriage of Udayana. She is in depression and tries to find out mental peace in sleeping. 

“Is it a healthy Sacrifice? Sacrifice should be by heart not by force of unwillingness.” 

Vasavadatta is in the image of contemporary women who are forced to do sacrifice unwillingly without saying a single word and if you are saying anything then you are not noble, caring, loving personality, even you are not in the category of woman and then women may get reply -Behave like a woman do not try to be a man/ be in your limit. 

There is a mythical concept of Ardhanareshvar in Hindu religion that symbolizes equality in men and women but here the question arises that we consider all the myth and mythology but why we do not consider the symbolic and mythical aspect of Ardhanarisvara in contemporary society?

“The union of Siva and Sakti in one body is portrayed consistently through thee inclusion and juxtaposition of female form and or her perspective insignia.”44 

There was a vast difference between other maids and Vasavadatta. Vasavadatta was every inch Royal and so when she was given under the protection of Padmavati lady hermit and maid both commented that she looks like a daughter of a king. Here again we have mythical concept regarding the qualities of the daughter of the king. Vasavadatta fulfills the entire requirement and one of them is ready to do anything for the nation or her kingdom, and Vasavadatta does so. Even in the contemporary society it is believed that the girls are the princess of the family and deserve love, care and her own individuality. But the other side of it is that they are prepared from the childhood that they should be ready to perform their duties and not to demands for their rights as education, love marriage, divorce, justice if she becomes the victim of marital rape, professional harassment, or not ready for any more pregnancy .  A girl should be ready to do sacrifices and should behave like the puppet for the family and society. A girl lost her individuality even in the modern times. Vasavadatta becomes ready to sacrifice for the nation. In spite of being sacrificial princess why a princess cannot fight and win like Jhansi ki Rani. Why we are not giving this chance to any girl? It refers to the condition of women in modern times and thus proves its relevance.

All the way Vasavadatta is travelling with Padmavati in a village and Yaugandharayana as her brother. Here the news of king’s mourning on the death of Vasavadatta and Yaugandharayana from a student who came to Kosambi from Rajgrah to specialize in Vedic study. When the tale of sadness is told Vasavadatta silently cries. The student informs them that a minister name Rumanvan is attending and consoling the king like a Royal student. He is avoiding food and care. 

“Like the king he will touch no food, his face is wasted by ceaseless weeping. Depressed by sorrow like his lord, he neglects the care of his person. Day and night he attends untiring on the king. Should the king suddenly depart this life, he also will expire.”45 

There always have been faithful servants who sacrifice their life for their master. But in contemporary society it is difficult to find such people with full dedication who are ready to sacrifice even their lives for their masters.  On hearing the news Vasavadatta feels light as Udayana is in safe hands and Yaugandharayana is also relieved for Rumanvan has taken the major responsibility. 

Padmavati is playing with a ball and the maid is encouraging her to play because after marriage she will not be able to enjoy such time. Here the institution of Indian marriage has been focused by Bhasa. After marriage Padmavati will not be able to enjoys which symbolizes that there is again a mythical concept of marriage where a woman after marriage is not having freedom to enjoy her own dreams and individuality. The contemporary modern time also deals with the same condition where a woman is not allowed to work after marriage, she is not allowed to go out of the house alone. But all these restrictions are only for a woman and not for the man after marriage. Why woman has to suffer a lot even without her mistake simply because she is a woman. 

“Every society has its own rules and regulations regarding marital relationship, though women are subjugated in all marriages.”46 

Vasavadatta hears the news that Padmavati is engaged to Udayana though she is neither jealous nor happy. In act III Vasavadatta seeks deepen thought when she was called by Padmavati to make garlands. 

Vasavadatta meets Padmavati and Padmavati talked about Udayana.  Padmavati asked about Vasavadatta and her relation with Udayana. Vasavdatta replied that Udayana had been everything for her because she had left her parents for him. Even Padmavati affirms that Udayana still remembers Vasavadatta. Jester and the King talked about his love whom he loves more Vasavdatta or Padmavati. The king for sometime evades the answer but later he tells he loves Vasavdatta more. Then he asks Jester whom he likes more and the jester also answer Vasavadatta and they both tried to come to the terms that Vasavadatta is no more. King becomes sad and his eyes are in tears. Vasavadatta sends Padmavati to the king to console him and she leaves.

At the end Yaugandharayana comes to Padmavati and asks for his sister. Yaugandharayana tells that he has played the trick for the benefit of his master Udayana and at last the plot is revealed and the king comes to know about Vasavadatta and Padmavati also. 

The Vision of Vasavadatta is a play about politics, power, love, sacrifices and adjustment where every character is somewhere suffering at his or her own level. Here Bhasa tries to prove that most of the time in ancient era the marriages were done for the political and status maintaining benefits. Bhasa has also given clear picture that The Vision of Vasavadatta is simply a sacrificial story of Vasavadatta and ignorance of Udayana regarding his duties as being the king. We see only one aspect that is love of Udayana for Vasavadatta. The exact meaning or sense of Love is that ‘Love should be your strength that gives you courage to perform your responsibility in proper manner and courage to fight when you are correct.’ But in contemporary world we have changed the meaning of love and sacrifice that lead to psychological disorder, acid attack, killing or suicide. Bhasa’s The Vision of Vasavadatta is highly relevant with the contemporary context in this sense.  Bhasa has brilliantly represented all the issues with the concept of the contemporary context through his characters and events. We just need analytical and logical eyes to find them. 

Dr Swati Joshi

Gujarat 

डॉ मनीष कुमार मिश्रा की ग़ज़लों का लिंक

 अगर आप डॉ मनीष कुमार मिश्रा की ग़ज़लों को आनलाइन सुनना चाहते हैं तो दिए गए लिंक पर क्लिक करें।

https://youtube.com/playlist?list=PLuSz1nD0QKI-4ayLqJPIs1eFC619C5Boa

Svapna-Vasavadattam (The Vision of Vasavadatta)

 Svapna-Vasavadattam (The Vision of Vasavadatta)

Dr Swati Joshi

Gujarat 

 The Vision of Vasavadatta is the second part of The Minister’s Vow or can be said that the continuation of it. The Play is divided into six Acts. Most of the major characters of The Minister’s Vow are the chief part of The Vision of Vasavadatta. The play is based on the legend king and his queen Vasavdatta and chief character Yougandharayana and there is a description of new character of Padmavati who compels us to see the play on the political perspective. But on the other side the character of Vasavdatta and Udayana forces us to see the play from their love, emotional, sacrificial point of view where as Yougandharayana throw new challenges to the reading class that this play has politics, sustainability, emotions, dedications, and understanding between the characters, a reader has to accept and then to have critical perspective. The Vision of Vasavadatta is a play of full of emotions and feeling, the emotion of Yougandharayana as the minister and his dedication and loyalty towards his king Udayana. The over whelmed love of Udayan for Vasavadatta is to be found where he forgets all his responsibility as the king. There is the description of sacrificial love of Vasavadatta for Udayana; having the sense of responsibility selfless love and loyalty towards kingdom being the Queen of Vasta. All the qualities make her character dominating in the play. Another love can be identified as facet of the character of understanding which is represented by Padmavati who after knowing everything decides to go with Udayana along with Vasavadatta. The other minor characters are in the assistance to present the different emotions, conflict and struggle in the play.

“Svapnavasavadatta is a play of tender love, in both its phases of union and separation. Here we see gay girls playing with bolls, Sephalika plants in rich florescent with jolly girls gazing at their beauty, betrothals, and wedding portrait vina melodies a dreaming lover whispering his love in a weird sleep taking scene. Touching elopements with the beloved’s tears washing the lover’s breasts; heart rending cries of a man tearing his soul at the tragic death of his wife the apple of his eyes; the mighty sacrifice of self effacing wife for her husband’s weal et hoc genus omne.”25

 The title of the play ‘The Vision of Vasavadatta’ itself suggest the story outline in a direct way. The Svapana means dream or vision and Vasavadatta, the name of the lady. Vasavadatta has seen a dream that some other has seen Vasavadatta in the dream or in a vision. According to the plot of the story the second is more appropriate as Udayana feel in the play he has the vision of Vasavadatta. The Play is about Udayana who was in deep love of Vasavadatta and neglecting the responsibility of king. The other characters are Stage Manager who has the responsibility to begin the play by remembering God. Here the stage manager recalls the name of Balarma by saying that –

“May the arms of Balarama protect thee, arms as fair as the young moon at its rising given their full vigour by wine full of Beauty incarnate, and lovely as spring.”26

 The other characters are two guards who are protecting Padmavati. Yougandharayana the minister of Udayana, Vasavadatta daughter of Mahasena and princess of Ujjain but at the end of the play she came out as the wife of Udayana and queen of Vatsa. Next character is chamberlain maid, in the service of Padmavati. Padmavati is the princess of Magadha and the sister of King Darsaka and perform the role at the end of the play as the second wife of Udayana. The other minor characters are Jester, Lady Hermit, student of theology Padminika and Madhukarika both are the attendant of the prince of Magadha. Raibhya chamberlain of Avanti court at Ujjain and three characters are from the side of Udayana – Chamberlain, Vijaya the portress from Kosambi and Vasundhara – a nurse for Vasavadatta.

 Stage Manager as usual begins with prologue and calls the name of Udayana. The entry of Yougandharayana and Vasavadatta in the guise of religious mendicant and the maid Avanti gives clear indication to the reading class that there is again a smell of conspiracy like the previous part The Minister’s Vow. Padmavati is presented as the soft hearted person with good conduct in the play.

“Her words are as sweet as her looks.”27

 Almost all the characters of this play are presented by Bhasa with some special quality in their personality as Padmavati as very noble from the heart and looks. The intention of Bhasa to give the certain and particular qualities to particular person is to fulfill the demand of drama and Bhasa proves that he became successful in it.

 The structure of the play is conquered by Vasavdatta, Udayana and Yougandharayana but it is important to note that Yougandharayana can be easily seen in the first part of the play and become invisible during the act II, III, IV and become noticeable in the last act only. Vasavdatta is observable but in the disguise of maid hiding her original identity and showing her individual personality with the Yougandharayana as her brother. The other characters of the play are unaware about the disguise of Yougandharayana and Vasavdatta.

“This is my sister. Her husband has gone abroad; my wish is that her Highness would take my sister under her protection for some time.”28

 Every character of The Vision of Vasavadatta deals with the notion of common emotions and relationship. Vasavdatta got the permission to be with Padmavati in the disguise of royal maid. Vasavadatta shows sisterly love for Padmavati when she encounters with her for the first time.

“Hearing she is a princess, I too feel for her sisterly affection.”29

 Even Padmavati feels about Vasavadatta that she has the noble heart and royal appearance. A student of theology comes there and talks about the incident of Kosambi where there is a terrible fire when the king was not in the palace and because of the fire the Queen Vasavdatta died and the loyal minister also dies in the process to rescue her queen. Bhasa wanted to send the message to Padmavati and for this purpose he created the character of research student of theology. This shows Bhasa’s brilliant work of art and power of narratives.

 Padmavati and Vasavatta discuss about Udayana with each other. Bhasa tries to show two different emotions that come together by two different characters. Vasavdatta feels sad and ignored and Padmavati feels new life and feeling of love when they talk about king Udayana. Bhasa has given beautiful touch to various emotions in the dialogue through narrative pattern.

 Vasavdatta has to plait the wedding garment of Padmavati where she becomes disturbed because she is helping the woman to whom her love Udayana will marry soon. It was great embarrassing situation for her to handle. She was badly hurt.

“Vasavadatta- (Aside) Must I do even this? The Gods are indeed cruel.”30

 Vasavadatta represents another side of love in shape of sacrifice. Her love for Udayana and her liabilities towards her kingdom are incredibly created by Bhasa. She has to go under the process of agony and severe pain when she becomes ready for the marriage of Udayana and Padmavati.

“Bhasa gives a model format for a play with the theme of love. He chooses the story of Udayana and Vasavadatta for dramatic presentation, emphasizing not only the depths of their romantic love but also the agonies and troubles that it generates.”31

 All these emotions and feeling are very usual and the reader can easily relate with character. If person who reads are able to attach with the characters then it can be measured that the author becomes winning in generating and relating characters with living human being.

Dr Swati Joshi

Gujarat