सामाजिक सरोकारों की सुंदर अभिव्यक्ति

 

'इस बार तेरे शहर में'

‘’संवेदनाएँ

जहाँ असहाय हों

वहाँ

उन्हें दुलराने को

उपस्थित हों सकें

मेरी भी

कविताओं के शब्द।‘’

'इस बार तेरे शहर में'  काव्य-संग्रह साहित्य-सृजन के माध्यम से प्रकृति सौंदर्य, मानवीय संवेदनाओं, दुनियाई        तानों-बानों एवम् मनुष्य के सामाजिक सरोकारों की सुंदर अभिव्यक्ति करता है। जीवन के विविध रूपों में नारी की उपस्थिति, चाहे वह माँ हो या प्रेयसी हो, उसका महत्व एवम् सार्थकता को पूरी गहराई के साथ चित्रित किया गया है।

“इन घाटों का तट

तृष्णाओं की तृषिता है।

तने हुए तन का

अंतिम पड़ाव तो

भरे हुए मन का

सम्मोहन केंद्र।“

 संग्रह में प्रकृति के अनुपम सौंदर्य को, बनारस शहर की स्मृतियों को जीवंत रूप से उकेरा गया है। शहर की गलियाँ, उसके घाट, दुकानें और विविध किरदारो से जुड़े हुए अनुभव ध्यानाकर्षित करते हैं।

“लेकिन

हम भूल गए थे कि

कैमरा

यादों को कैद कर सकता है

लौटा नहीं सकता।“

कई आधुनिक प्रतीकों जैसे चाय का कप, मोबाईल, नेल पॉलिश, कैमरा, पेन, नेलकटर, जूते, विजिटिंग कार्ड इत्यादि का नये संदर्भों में प्रयोग किया गया है।

                                                                     “जीवन के तीस बसंत बाद

जब पीछे मुड़कर देखता हूँ

तो कई मुस्कुराते चेहरों को पाता हूँ

लगभग हर आँख में

अपने लिए प्यार पाता हूँ

अपने लिए इंतजार पाता हूँ।“

 

यह काव्य-संग्रह कवि के पिछले तीस सालों का लेखा-जोखा है और उन सभी के प्रति आभार प्रदर्शन भी है जिन्होंने उनका स्वरूप गढ़ने में सहायता की। कवि दिखावे में नहीं अपितु सच्चाई की सहज प्रतिक्रिया में विश्वास करता है।

इस बार

जब तुम्हारे शहर में था

तब

तुम नहीं मिली

और

नहीं मिला

तुम्हारे शहर का

वह मौसम भी

कि जिसका मैं दीवाना हूँ।

 'इस बार तुम्हारे शहर में' कविता के माध्यम से जीवन की सच्चाई बतलाई गई है कि आनंद बाहरी नहीं अपितु आंतरिक तत्त्व है हृदय जब एकाकी, दुःखी और प्रियविहीन हो तो सारे बाहरी उपक्रम बेमानी लगते हैं। अभिव्यक्ति की ताजगी और भाषा का सटीक प्रयोग पाठकों को बांधे रखता है।

             डॉ. श्रीमती रीना थॉमस                                                                                                                                        

 सहायक प्राध्यापक हिन्दी                                                                                                             

  संत अलॉयसियस स्वशासी महाविद्यालय                                                                                                                                                        जबलपुर (म.प्र.)

 

लफ्ज़ लफ्ज़ जो लिखा वो तेरा खयाल है

 

लफ्ज़ लफ्ज़ जो लिखा वो तेरा खयाल है 

क्या करूंगा बिन तेरे यही बड़ा सवाल है । 

ख़्वाब कोई है नहीं बढ़ के मुझसे भी बुरा 

तुम नहीं तो क्या कहूं ये जिंदगी मुहाल है ।

जाने किस गुनाह की जिंदगी सज़ा रही 

नशा रहा तो ठीक था होश पर मलाल है ।

सर्द रात की हवा मुझे लिपट के रो पड़ी 

तरह तरह के हादसों में जिंदगी निहाल है ।

रंज और जुनून का जुलूस ले निकल पड़ा 

शब्द शब्द उड़ रहा तेरे गालों का गुलाल है ।

                  डॉ मनीष कुमार मिश्रा

                  के एम अग्रवाल महाविद्यालय

                  कल्याण पश्चिम

                   महाराष्ट्र।

Thirteen Plays of Bhasa- Sanskrit drama

 

Dr Swati Joshi 

Shrimad Rajchandra Vidyapeeth 

Dharampur

Thirteen Plays of Bhasa-

1 The Minister’s Vows ( Pratijna -Yaugandharayanam)-

 Pratijna –Yaugandharayanam is an exceptional and renowned historical play of four acts where King Udayana and Vasavadatta saturated the complete plot and theme but not seen as a character during the play. These characters are always introduced by other characters. The story describes the complicated and controversial political and personal relationship of two powerful neighbors of Ujjain and Magadha. The story revolves around foremost characters like king Udayana from Kausambi, Vasavadatta the first queen from Ujjain and the queen Padmavati from Magadha the minister Yaugandharayana, Rumanvan, and minor characters like Vidsaka, Harigsaka, Salaka, Nirmundaka, Brahamana, Bhata, Gatrasevaka, Pradyuta, Bharatrohaka, Badarayana anad Sadharana, vijaya Amgaravati. Udayana is presented with all the qualities of gallantry, with some special skills as Bhasa has given individual expertise eminence to all his chief characters, Udayana shows his skills in the administration of elephants and his excellence in lute. The play begins (Act I) with the news that Udayana is captured by Pradyota by creating conspiracy of blue elephant. Hamsaka arrived and explained the incident to Yaugandharayana and then he took the oath to bring back Udayana to Kausambi. In Act II there is a description of Palace where the king and the queen discussing about the marriage of their daughter and their daughters’ new passion to learn lute. King Udayana taught lute to Vasavadatta. In Act III Yougandharayana discussed the incident with Rumanvana and the jester of the Vasta court. They went to Ujjain in disguise. The jester became beggar another was in form of madman and third was in Buddhist priest. They planned to irritate the female elephant and then the attention would be converted towards elephant and they will take away king Udayana. But unfortunately king Udayana has fallen in love with Vasavadatta the daughter of Mahesana, the king of Ujjain and did not want to go away without her. Yougandhararayana again take his second vow to take away the king with Vasavdatta. Act IV represents a conversation between loyal ministers Yougandhrayana of king Udayana and Bharatarohaka of king Mahesana. The play ends with the happy decision of marriage. The play is having Prakarna Rupakas, written in imagery way and the hero is Brahaman. The play can be classified in Prakarana. The title of the play is based on the vow of Yougandharayana.

2 The vision of Vasavadatta ( Svapna-Vasavadattam)

 Svapna- Vasavadattam is a historical play having six acts. The main characters are King Udayana, Yougandhrayana, Vasantaka, Brahmacari Kancukiya,(sevak of Magadh) Kancukiya (sevak of Ujjain) Sambahaka, Bhata and Sutradhara. The women characters are Vasavadatta, Padmavati, Angaravati, Avantika, Madhukarika, Padminika, Vijaya, Dhatri and Vasundhara The play begins with carelessness of Udayana regarding his responsibility as a king. Pradyota- Maheshana already became opponent of Udayana as married to his daughter and Aruni attacked on the kingdom of Udayana. Yougandharayana, the minister achieve the kingdom of Udayana back by using the maze of techniques, plots and judgments as a part of his policies. The plot was concord with the collaboration of Vasavadatta herself. Yougandharayana spread the anecdote that Vasavdatta is passed away in the fire and then he planned the marriage of Padmavati with Udayana. The marriage of Padmavati and Udayana will strengthen the kingdom to face enemies. After the death of Vasavdatta Udayana become murky and depressed. But he agrees to marry Padmavati. Once Padmavati was ill and Udayana went to see her. In that incident Udayana saw Vasavdatta but the moment was suppressed by the other colleague that it may be the dream of Vasavdatta merely. The sudden news came that Rumanvan came with huge army to defeat Aruni. In the last act King Udayana regained his kingdom and his lost lute. With the help of the painted picture of Vasavdattam Padmati came to know that Vasavdatta is alive and she is in the disguise of her caretaker. The conspiracy revealed and Ministers are forgiven. At last Udayana decided to visit Ujjain with both the queens.

3 Carudatta in Poverty ( Daridra-Carudattam)

 Carudatta is a play of four acts. The male characters are – Carudatta, Vidusaka, Sakara, Vita, Sambahaka, Ceta and Sajjalaka. Vasantasena, Radanika, Caturika, Vicchittika Madanika, Nati are female characters. The Play depicts dedication and love of Vasantasena headed for Carudatta a bearer of virtue but deprived in economical surroundings. The stage manager begins the play by using Prakrit language. The play depicts the character of Carudutta as a Brahman in Ujjain who falls in profound love of Vasantasena who is a prostitute in city. Vita tried to follow and harass Vasantasena and to rescue herself she hides in Carudatta’s house, drops her ornament in his house and returns safely with the help of Maitra. Sambahaka praised Carudatta in front of Vasantasena and she falls in love with him. From the house of Carudatta Sajjalaka stole Vasantasena’s ornament. But the wife of Carudatta gave her pearl necklace to Carudatta for the loss. After that Brahaman from Carudatta gave it to Vasantasena declaring that Carudatta lost all ornaments in gambling. Another man came to Vasantasena to give ornament stated that the house of Carudatta was unsafe. Vasantasena realized everything and decorated Madanika with her ornaments to send Madanika with her lover. At last Vasantasena visited Carudatta and without epilogue the play ends. Shringara is the main Rasa of the Drama and Pathos can be seen in the description of the poverty of Carudatta.

4 The Five Nights (Pancaratram)

 The Five Nights is based on the Epic story Mahabharata divided into three acts. It is based on the Virata- Parvan the Fourth book of the Mahabharata. The story is about Pandavas who were in their thirteen year of exile and during this period enter in the kingdom of the king Virata, the king of Matsyas. Pandavas were in the different disguise like Youdhishthira as a Brahman, Bhimasena in the disguise of cook, Arjun in the disguise of a person who is neither man nor woman in sex and he plays the role of a dance teacher of the princesses. Along with them there are three people Madri, Nakula and Sahdev who worked under the disguise of caretaker of horses and cows. Their wife Draupati worked as the woman who styles the hair of the queen. The main characters of the drama are- Duryodhana, Bhima, Drona, Sakuni, Bhimasena, King Uttara, Karna, Gopalaka, Bhagavan, Gomitra, Brahannala, Bhata, Knaukiya, Suta, and Sutradhara. This drama contains various aspects of Vira Rasa as Dhuryodhana symbolizes Dharamvira, Dayavira can be seen in the character of Dronacharya and one universal Rasa of Yuddhavira in every single characters of Drama.

 The story revolves around Duryodhana and Drona. Duryodhana executed sacrifice (Yagna) and offer Dakshina to Drona. But Dronacharya refused to take Dakshina and asked allocation for Pandavas in the monarchy. To avoid this situation Duryodhana puts one condition that he is ready to give half portion of his kingdom but he asked to give the information of Pandavas within five nights. The title of the drama is based on this condition symbolizes Panchratra –“Five Nights”. As the plot progress Kauravas with the support of Prince Uttara went to Virata and won the battle. Same time Pandavas came and Drona found them. The condition was completed by Drona and partially kingdom is given by Duryodhana to Pandavas.

5 The Middle One (Madhyama- Vyayog)

 The Middle One is based on great Epic the Mahabharata and written in one act play only. In Sanskrit drama the title of the play is based on the Nayaka (hero) of the play or Nayika (heroine) of the play or based on significant episode of the play. The Middle One is based on the name of “Madhyama” which is frequently used in the play sometime it is used for Bhima and sometime for a Brahaman son who is middle among three sons. There is a confused situation regarding the name of the Middle one (Madhyama) and Vyayog symbolizes one act play based on heroic event or armed tasks without any description of love and sentiments. The key emotion is Vira (heroic) and other emotions can be seen in the form of Bhayanaka when Brahama and Ghatotkaca met. Karuna Rasa can be seen when the Braham family is ready to surrender for each other. When Hidimba recognized Bhima Mugdha Sringara Rasa can be seen in the play.

 The play describes an old Braham with his wife and his three sons. They were in the forest and suddenly encountered with Ghatotkaca (Potsherd) the son of Hidimba a giant who eats humans to fulfill her hunger. Hidimba asked his son to bring one human to eat. Ghatotkaca decided to take any one from the Braham family and he took Madhyama son (the middle one) for his mother. At the same time Pandavas were also in the forest and Brahman appealed Bhima to save his Madhyama son. Bhima asked Ghatokaca to release the middle son of Brahaman and proposed himself to him for his mother. Ghatokaca agreed to take Bhima to his mother and to release Son of Brahama. Hidimba recognized Bhima as her husband and asked Ghatokaca to accept Bhima as his father and instruct him to touch his feet. The play ends with the gathering of Bhima and Hiddimba.

6 Karna’s Task ( Karna Bharam)

 Karna Bharam is a one act play and the story is based on the Mahabharata. The play is also called “Karna’s Tragedy”. This play of Bhasa is different from another play because there is no female character in it. The male characters are Sutradhara, Karna, Salya, Devduta, Bhata and Indra. The title of the play is based on Karna’s generosity where he has to give his Kundalas to Indra as these kundalas were burden (bhara) to his ears (karna). Then the play is called Karnabharam. The play deals with the portrayal of Karna who is ready to fight and at that time Indra in form of Brahmin emerge and start begging for a valuable gift from Karna. Karna tried to offer him cows, horses, elephants, the outgrowth of Agnistoma and his wealth also. But Brahama refused everything asked for excellent natural good luck charm. But in return Karna will receive only blessing from Devdutta. Karna decided to give his Kundalas to Brahman and receive blessings from him. At last Karna asked Salya to take him to the battle ground. Karuna is the main theme of the play and use of Prakat language from the mouth of Braham made this play different from other plays of Bhasa.

7 The Broken Thighs (Urubhangam)

 The Broken Thighs is having one act description, based on the Mahabharata. Urubhangam is a Vyayoga type of drama and the main characters are Sutradhara, Durjaya, Duryodhana, Dhrtarastra, Asvatthama, Pariparsvika, Bhata and Baldeva. Gandhari, Pauravi and Malavi are the female characters. Pathetic (karuna) is the main Rasa of the play. Urubhangam the title is related to the shatter (bhanga) of the thighs (uru) of Duryodhana. Hence the play is called “Urubhanga.”

 The play is divided into two plots which are interrelated. The soldier (Bhata) describes how Bhima break the thighs of Duryodhana during the battle with the help of Krishna (a secret sign) in Vishkambhaka scene (Introductory scene). The second scene is hold by Baldeva in which Duryodhana crawled with both the broken thighs and Dhrtarastra, Gandhari and Duryodhana’s queens arrived with Durjaya in the battlefield. In this painful condition Duryodhana asked for tranquility and companionship with the Pandavas. But Asvatthama took an oath that he will kill the Pandavas Durjaya will be the King with crown. The end of the play came with the tragic and painful death of Duryodhana.

8 The Statue Play ( Pratima- Natakam)

 The play is divided into seven acts. The Ramayana is the basic source of the play. The play describes the legend of Rama and Ravan. The plot is based on “Ayodhyakanda” and “Aranyakanda” of the Ramayana. The play deals with the Karuna (pathos) sentiments and the main emotion of Drama is Dharma Vira and Pathetic. There is a description of Rama’s exile from his kingdom in the beginning act. The next act deals with the death of Dasaratha. The next act deals with the incident of arriving of Bharata where he sees the statue of his father and come across with the dreadful demise of his father. In fourth acts Rama meets with Bharata in the forest and Bharata demands to be with him but Rama refused his wish and talked about the vow. Bharat come back with the vow that he will be only representative of Rama and whenever Ram come Bharat will give all his right to him. In fifth act Ravan take away Sita from Rama. The sixth act deals with the death of Jatayu by Ravana. After getting the news of Sita Bharata comes with the huge army to save Sita. At the end in the seventh scene Ravan is killed by Rama and Kaikeyi decided for the coronation of Rama in Ayodhya. Ram got his kingdom back. The title of the play is based on one scene where Bharat went to Pratimagriham to see the Pratimas (statues). There are many statues in Pratimagriham but Bharat was not able to recognize all but he recognized the statue of his father and came to know about everything that happens with Ram in his absence. Thus the title Pratima-natakam (The Statue Play) is appropriate.

9 The Embassy ( Dutavakyam)

 Dutavakyam is the one act play and based on the Mahabharata. The plot of this drama is taken from the section of the Bhagwanparva of the Mahabharata. The play describes the attempt of Krishna to bring peace between Kauravas and Pandavas by doing some agreement. The chief sentiment is Vira in the play. The title of the play is Duta- Vakyam that means Duta (messenger) Krishna and Vakyam (suggestion/statement) given by Krishna to Kauravas. The title symbolizes the advice of Krisha in form of a Duta to Kauravas for peace. The characters of the drama are Dhritarastra, Kancukiya, Sudarsana, Vasudeva, Sutradhara and Duryodhana. The play begins in Hastinapur where Duryodhana wanted to do meeting with other assembly members for the battle. Duryodhana discussed the question that who will lead the Kauravas army, then on the suggestion of Shakuni it is decided that Bhisma will be the leader of army. At that exact time chamberlain declared that Krishna is coming as a Duta of Pandavas to give message to Duryodhana. Intestinally Duryodhana refused to respect Krishna and avoided him by gazing the humiliating pictures of Draupadi. But in this confusion he fell down from his throne. Krishna asked for the share of Pandavas but Duryodhana was not ready and they both get into long debate. In anger Duryodhana ordered his soldiers to arrest Krishna but nobody has dared to touch Krisha. At last furious Duryodhana himself tried to arrest Krishna. At that time Krishna took his enormous form and called his Sudarsana Chakra to obliterated Kauravas. Sudarsana appeared on Stage in human form and took his way to kill Kauravas. Krishna remembered that being divine he should not kill and should wait for the right time. He ordered Surdarsana to go back. At last Garuda appeared on stage and Krishna also decided to go. Dhritrastra felt the greatness of divine Krishna and at last fall down to his feet and tribute him. There is an epilogue in the end.

 10 Potsherds As An Envoy (Duta- Ghatotkacam)

 The play is very short with one act and based on the Mahabharata. The title of the play is related to Ghatotkacam, a messenger of Pandavas who performs the role of Duta to convey the message of Krishna to Kauravas. The ruler sentiment is Pathos (Karuna) can be seen from the speeches of Dhrtarastra, Dushala and Gandhari. Ghatotkacam represents the sentiment of Vira for some time. The main male characters are – Sakuni, Ghatotkacam, and Dhrtarastra, and Duhsala, Gandhari and Pratihari are female characters.

 Abhimanyu (son of Arjun) is killed by Kauravas in the battle field with conspiracy and unfair. After this incident Arjuna declared to kill Jaydratha next day in the battle field. Dushala seemed under risk and frightened by getting the news of the future death of Jayadratha. Ghatotkaca reached palace and performed his duty as messenger and gave reminder to Kaurvas about the promise of Arjuna. Then Dhrtarastra and Ghatotkacam got into arguments where Ghatotkacam praised the decency of Krishna and explained the speech of Krishna to everybody.

11 Sheep- Killer (Avimaraka)

 The Play is based on the Kathasarit Sagar and Brhatkatha. The Play is divided into six acts and deals with the sentiments of Sringara and Hasya. The title of the play is based on the name of hero Avimaraka but his real name was Visnusensa. But he is the killer (Marka) of the Goat (Avi). But at the end it is cleared that he killed the goat that was in the form of devil. So the title is Avimaraka. The characters are- King Kaunjayana, Jayavarman, Sutradhara, Bhutika, Bhata, Vidusaka, Avimaraka, Kuntibhoja, Narada, and Vidyadhara. The female characters are- Ceti, Nati, Sudarsana, Devi, Vasumitra, Dhatri, Saudamini, Nalinika, Vilasini, Kurangi, and Magadhika.

 The Play represents the story of Sudarsana and Sucetana. They are sisters Sudarsana married to the king Benares and had a son with some blessing of Agni. Sucetana is married to the king of Sauvira furtively lift her elder sisters’ son who is blessed by God Agni and brought him as the son of Sauvira with the name Vishnusena. After some time Sauvira lost his kingdom because of the curse of one saint that they will be living their life as an outcaste or low caste for one year. During the time of curse Sauvira with his wife and son were in the kingdom of Kuntibhoja. Kurangi is the daughter of King Kuntibhoja once was in trouble attacked by an elephant. Avimarak saved her life by rescuing her from elephant. At the same time Kuntibhoja and his queen were searching suitable match for their daughter. When Kuntibhoja heard this news then he thought about the marriage of Kurangi with Avimaraka but as soon as he knew that he is from lower caste he refused and mean time King Benares asked for Jayavarman and Kurangi’s marriage. But Kurangi was in love with Avimaraka. They tried to meet each other. Once Avimarak was in trouble and decided to throw himself into the fire (Agni) but he was surprised because fire cannot burn him. He thought that it may be because of the magical ring which is given by fairy and with the effect of this ring he became invisible. Kurangi also tried to hang herself but Avimarak rescued her with the help of his Brahmin friend Jester. At the time of the marriage of Kurangi, the curse of Sauvira is over and he discussed everything with Kurangis’ father king Kuntibhoja. After knowing the truth Kind Kuntibhoja is ready for the marriage of Kurangi and Avimarak whose real name was Vishnusena. At last King Benares is ready for the marriage of Younger sister of Kurangi with Jayavarnam. Narada came and arranged everything in the end of the play. The Play ends with the happy ending after so many confusions, secrets, conspiracy and complications.

12 The Adventure of the Boy Krishna ( Bala-Caritam)

 Bala –Caritam is a drama based on the Srimadbhagvata Gita and Vishnu Purana. It has five acts. The play represents the birth of Krishna, his early life and his miracle performance. The title of the play deals with the Carita (character) of Bala( child) so the name of the drama is Bala- Caritam. The Play contains main sentiment Vira but as the plot progresses sentiments changes as Karuna, Roudra, Bhayanaka etc. The play represents Putna whose breast were sucked by Krishna, Killing activity of Kaliya and Canura, demolition of Kamsa by Krishna and Krishna helped Urgasena in his coronation.

13 The Consecration ( Abhishēka- Natakam)

 The story of the play is based on the some events of the Ramayana as Kiskindha, Sundara and Yuddha Kandas. The Play is divided into six acts, represents the journey from the coronation of Sugriva to the crown ceremony of Ram. The title Abhishka means a crown ceremony of the King and the play describe three coronations, so the title is apt. The main sentiment of Drama is Vira but most of the scenes create the sentiment of Adhbhuta. The beginning of the story revolves Sugriva and his brother who has dethroned him and also taken his wife. Ram helped Sugriva by killing Vali and gives his crown back. Hanuman’s search for Sita, fight with Ravan are the part of the plot. At last Ram killed Ravan and Came back with his wife and brother for Coronation. These are the major events of Drama.

Conclusion-

 The thirteen Plays of Bhasa are based on the Mahabharata, the Ramayana, and the Kathsaritsagar. Bhasa has taken stories from these epic but represented it again with different title of the play, with some changes, sometime in epics the characters are presented in negative role or less important but Bhasa has given new touch and view point to his plays with the quality of his uniqueness and different opinions. It can be said that Bhasa has made an effort to carry new transform in the convention of Sanskrit dramaturgy.

Bhasa and his works-Sanskrit drama

Dr Swati Joshi 

Shrimad Rajchandra Vidyapeeth 

Dharampur

 Bhasa and his works- 

Among all Indian dramatists Bhasa is measured as the vicar of drama. Bhasa is known for his absolute and older plays. The name Bhasa has given innovative confinement and route to Sanskrit literature and through his plays one can see the enormity and consequence of Sanskrit drama in the world of literature.  Bhasa shows his prominence in the depiction of emotions and in individualization of characters. In 1912 Mahamahopadhyaya T. Ganpathi Sastri the keeper of the document section of the royal library discovered and introduced great work of Bhasa in form of Thirteen Plays in Sanskrit in Trivandrum Sanskrit Series. It is believed that the written material is more than 300 years old. These plays were in a form of manuscript written on palm leaf (containing 105 leaves) in Malayalam font in the Manalikkara Matham (small village in Kanyakumari district of Tamil Nadu) near Padmanabha Puram with ten rupaka. These rupakas were Svapna, Pratijna, Panc, Car, Dgh, Avi, Bal, Mv, Karna, Uru,   along with it two more natakas discovered   Abh and Prat.   These plays are –

1The Minister’s vows (Pratijna -Yaugandharayanam)

2 The Vision of Vasavadatta (Svapna-Vasavadattam)

3 Carudatta in Poverty (Daridra-Carudattam)

4 The Five Nights (Pancaratram)

5 The Middle One (Madhyama- Vyayog)

6 Karna’s Task (Karna Bharam)

7 The Broken Thighs (Urubhangam)

8 The Statue Play (Pratima- natakam)

9 The Embassy (Dutavakyam)

10 Potsherd As An Envoy (Duta- Ghatotkacam)

11 Sheep- Killer (Avimaraka)  

12 The Adventure of the Boy Krishna (Bala-Caritam) 

13 The Consecration (Abhishēka- natakam) 

These plays can be classified in five categories-

1Historical/Udayana Plays – 

 1 Svapanavasavdattam 

 2 Pratijna- Yoaugandharayanam 

2 Fictions/ Original/Plays based on Legends -  

1 Avimarakam 

2 Carudattam

3 Plays based on the Mahabharat- 

1 Duta Ghatotkacam 

2 Dutavakyam

3 Karnabharam 

4 Madhyama-Vyayoga  

5 Pancaratram

6 Urubhangam

4 Plays based on the Ramayana-  

1 Abhishēka- Natakam 

2 Pratima-Natakam

eight categories of heroines in Sanskrit drama

Dr Swati Joshi 

Shrimad Rajchandra Vidyapeeth 

Dharampur

There are eight categories of heroines. Vasakasajjika    (dressed up for union)  Virahotkandhita (Distresses by separation)  Svadhinabhartrka  (having the husband  under subjection)  Kalahantarita (separated by quarrel )  Khandhita ( enraged)  Vipralabdha ( the deceived)  Prositabhartrka ( whose husband is on travel) and Abhisarika (who due to her infatuation is attached to the lover and gives up modesty in going out to meet him.) Heroines are also classified in the category of Sviya (wife of the hero) Parakiya (under the control of somebody) and Samanya (common to all).  In Sanskrit Drama one can easily define the categories of Hero and Heroine in the play. Apart from hero and heroine Vidusaka is another essential character who has the aptitude to continue living the ethnicity of Sanskrit drama. He can give respite to the audience. The function of Vidushaka is not to compact with Dharma, Artha, Kama and Moksha. Vidushaka deals with Vinoda (enjoyment), Vanchana (deception), Ashana (eating) Rajasena (serving king). After Plot and the characterization Sanskrit drama works on sentiments.  Rasa is the soul of drama and all Rasa made ‘Natyarasa.’

According to Dhananjaya, “Dramas are classified according to Subject matter, Hero and Sentiments.”19

There are nine sentiments of Sanskrit drama.   

1 Sringara (erotic) 

2 Hasya (comic)

3 Karuna (pathetic)

4 Roudra (furious)

5 Vira (heroic) 

6 Bhayanaka (terrible) 

7 Bibhastsa (loathsome) 

8 Adbhuta (marvelous)

9 Santa (quietism)

These sentiments can be divided in three categories-

1 Nataka in that we have all sentiments (sarvana)   and Natika in this we have the Erotic (Ratisambhoga)

2 Prakarana having all sentiments 

3 Samavakara in that we have only three types of the Erotic (Trisrigara)  

Sanskrit Dramas have diverse categories, deals with unusual prototype and persona. Sanskrit drama can be based on Rupaka ( major category ) and Uparupaka ( minor  category ) in which Nataka and Prakarana  are part of Rupaka and  dima, bhana, vyayoga, Ihamrga, anka vithi and prahasana may be considered in Uparupaka.  

Nataka   has a heroic touch which deals with Abhinayas. Abhinaya is divided into four categories as angika, vacika, satvika and aharya.  Dhirodatta is the intimate initiative of Nataka where hero battle for right causes. Nataka deals with five to ten acts.  It is obligatory designed for Nataka to have five Sandhis and sixty four Sandhyarigas.  The chief sentiments of Nataka are Sringara and Vira must be concluding with spectacular ending.  Among all the characters the role of Vidushaka is signify cant and love is the major theme which is differently represented in every drama. 

Prakarana - This category deals with communal essentials having ten acts.  Difference between high class and lower class society can be seen in this category.  All the stories are from imaginative world where hero should be from Brahmin background or minister.  Sringar Rasa is the chief character.  End is always in the triumph of true worship.  

Bhana (one-man drama) can be considered as the earliest form of drama which deals with only monologue having erotic sentiments. In Bhana one can see frequent vocalizations in the atmosphere. In Bhana the hero present his incident of life using apparatus called Akasabhasita.    It deals with only two junctures. After Bhana Vithi, Anka, Prahasana and Vyayoga can be considered next form of Sanskrit drama.

Vithi (All the sentiments) has one act only. It has a number of characters and lots of sentiments are in greater than before position. 

Prahasana (Hasya) is a ridiculous or humorous lampoon based on subordination of Brahamans.  Prahasana deals with Hasya Rasa. It can be hurdle in the restriction of acts. It can be divided into three categories- 

1 Ordinary

2 Customized 

3 Miscellaneous

Vyayoga may perform up to ten heroes but it cannot perform with female characters.  It works with arrogant Rasas.  Vira, Adhbhuta, or Raudra play the responsibility of leader response in it. Vyayoga contains the depiction of encounters, assail and resist in this category of drama. 

Anka or Utsrstikanka can be performed with tragic elements of women characters where the plot is on the basis of epic and has more than two acts as Mukha and Nirvahana. Karuna is the chief Rasa in it. It can be perform on the tragic condition of women whose relatives, love ones vanished in war and these women portray their soreness and vulnerability. 

Ihamrga is approximately identical as Vyayoga performed with similar heroes and Rasas.  Ihamrga can be performed with four acts containing three Sandhis.  In this category the divine heroine would be approached by the hero.

Dima Dima can be performed with all Rasas but with erotic or humorous Rasas. Dima deals with four acts. The hero of Dima should be God, Yaksa, Raksasa.  Among all the Rasas Roudra is the ruler emotion of Dima.  

“Dima represents terrific events, portents, incantations, sorcery, combats and disorders of every sort. It is called Dima because of the presence of vidrava (fight, panic, abuse) in it.”20  

Along with Dima and Vyayoga Samavakara can be executed with the erotic passion.  Samavakara has four sandhis and can be performed with three Rasas as Sringara, Vira and Roudra. Prakarana, having three acts. Natika may have four acts. In spite of that it is not confirmed detail about the acts of Prahasana (the comic), Anka (the pathetic) and Ihamega (the heroic) in Natyashastra. Bharata, Sagar Nandin, Dhananjaya, Ramachandra, Gunacandra   and Visvanatha have diverse belief about quantity of acts in various types of Sanskrit dramas.  Bharata burly believed that being most alluring fraction of drama Nataka and Prakarana can be performed with all the nine sentiments. Dhananjaya was of the opinion that the heroic or erotic should be the core Rasa of Nataka and Prakarana.  Plot association can be classified in two segments- 

1 Sluggish 

2 Immediate 

Nataka, Prakarana and the Natika deal with sluggish movement having all the Juncture.  Dima, Samavakara, Ihamrga, Vyayoga, Prahsasana Vithi and Anka deal with immediate movement plot not having all the juncture,   two or three are missing out.  

Kuttiyattam- 

“Kuttiyattam” the word is divided into two words- Kuti means Combined and attam means dance. It also deals with recitation and action. During the early days of the performance the actor carry out Nirvahan (a practice where the character communicate and bring the events from past to present perspective) alone.  This was theoretically called Pakarnattam (conversion of roles).  The other actors join him at the end of the performance. The theory gives lots of space to actor for imagination (manodharma). After this process the acting and dancing become multi personalities. It is called Kuttiyattam. 

जैसे भी हो ये मंज़र बदलना होगा

 जैसे भी हो ये मंज़र बदलना होगा

लाज़मी है घरों से निकलना होगा ।

ढ़ीले पड़ चुके व्यवस्था के कलपुर्जे

मरम्मत में इन्हें खूब कसना होगा ।

बाहर निकलने के अपने खतरे तो हैं

मगर हर हाल में खतरा उठाना होगा ।

आज अकेले हो अकेले ही चल दो 

कल साथ तुम्हारे यह जमाना होगा ।

सब के हिस्से में नहीं होती बुलंदी 

कुछ को नींव का पत्थर बनना होगा ।

फिज़ा बदलेगी तो ये हवा बदलेगी 

तब जा के मौसम कोई सुहाना होगा ।

मेरे बुलाने पर भी तुम कहां आओगे

हमेशा की तरह कोई बहाना होगा ।

डॉ मनीष कुमार मिश्रा 

तुम्हें सोचकर अक्सर

 तुम्हें सोचकर अक्सर बहक जाता हूं 

ले लिया तेरा नाम तो महक जाता हूं।

कूचे यार में हुए आवारगी के किस्से

जब याद आते हैं तो चहक जाता हूं।

तुम्हें देख कर बढ़ जाता है रक्तचाप 

बात करना तो चाहूं झिझक जाता हूं।

भरे बाज़ार नीलाम कोई अस्मत हुई 

ऐसी खबरों को पढ़ सनक जाता हूं ।

हालात बड़े बेहतर बताए जा रहे हैं

हकीकत जान के मैं दहक जाता हूं।

डॉ मनीष कुमार मिश्रा 

सूखे कई गुलाब

 सूखे कई गुलाब किताब में रह गए

हम यूं जिंदगी के हिसाब में रह गए ।

मैंने सोचा आज तो ईद मुबारक होगी 

वो चांद आया पर हिजाब में रह गए । 

कुछ न बन पाए तो जहीन बन गए

यूं हर एक को करते आदाब रह गए ।

सवाल सारे गलत थे जो जिंदगी में 

हम उलझे उनके ज़बाब में रह गए ।

           डॉ मनीष कुमार मिश्रा 

हिंदी साहित्यिक पत्रिकाओं की सूची

 1. हंस 

2. वागर्थ 

3. नया ज्ञानोदय 

4. भाषा

5. मधुमती 

6. समकालीन साहित्य 

7. साहित्य अमृत 

8. पाखी 

9. परिकथा

10. कथादेश

11. कथाक्रम 

12. आजकल 

13. सोच विचार 

14. विभोर स्वर

15. लोक बहुमत 

16. तद्भव 

17. आलोचना

18. बहुवचन 

19. हिमांजलि 

20. गवेशना 

21. अनहद लोक 

22. समीचीन

23. नवनीत 

24. सरस्वती 

25. लमही

Cultural Appropriations of The Mahabharata

 Cultural Appropriations of The Mahabharata: A Continuous Battle between Colonization and Decolonization

Dr. Manisha Patil

Associate, IIAS SHIMLA

Ever since Charles Wilkins translated The Bhagavat-Geeta in English in 1785, Indian sacred texts, The Mahabharata being the foremost among them, have been continuously translated, adapted and appropriated by the Western Orientalists as the finest method of what Edward Said called “to domesticate the Orient and thereby turn it into a province of European learning.” (Said 78) This entire enterprise of Orientalism is based on the famous maxim of Michael Foucault called ‘knowledge is power’. The construction of knowledge about India was (and is) essential for the subjugation of India. Through a series of English translations of ancient Sanskrit texts like The Mahabharata, Western writers have created an ‘authentic’ textual account of India whereby India had a very rich ancient cultural heritage but has fallen from that grace to the present chaos. Even after independence, it remains the ‘White Man’s burden’ (Rudyard Kipling’s phrase) to discover, appreciate, analyse and propagate the wisdom of ancient Indian literature as Indians themselves are incapable to do so. This process of neo-colonizing the mind of Indians by modern Orientalists has unauthenticated the lived experiences of millions of Indians and subtly imbibed self-directed racism, hatred and inferiority complex among them. As a result, it is necessary to interrogate the Western adaptations and cultural appropriations of the Indian texts like The Mahabharata and once again wage the battle for what Ngugi, Wa Thiong'o rightly calls ‘Decolonizing the Mind’.

शिमला में मेरा प्यारा हमदम कैसा है।

 

वहां मेरे बिना बताओ मौसम कैसा है 

शिमला में मेरा प्यारा हमदम कैसा है।

ऊंचे नीचे पहाड़ी रास्तों का सूनापन

फिर चलते हुए फूलना दम कैसा है। 

सर्द रातों में अकेले सोना लिहाफ में

यूं अकेली रातों का बोलो गम कैसा है ।

मॉल रोड़ की रंग बिरंगी ढलती शामें

बे - मौसम बारिश वाला सितम कैसा है।

एडवांस स्टडी मेन गेट पर वर्मा पराठे

वो बालूगंज में जलेबी दूध गरम कैसा है।

मुंह चिढ़ाते फायर स्टेशन के लंगूर बंदर

उनके काटने झपटने वाला वहम कैसा है । 

एच पी यू बच्चों का शोर शराबा नारेबाजी

ठाकुर की पीना चाय शक्कर कम कैसा है ।

संकट मोचन, तारा देवी और जाखू टेंपल 

यहां का दर्शन पूजन भजन मद्धम कैसा है । 

लोवर मार्केट में घूमते हुए करना मोल भाव

बेचना 400 की जैकेट खाकर कसम कैसा है ।

                        डॉ मनीष कुमार मिश्रा 

                          कल्याण 

ज़रूरी नहीं कि सितम करके देखो

 

ज़रूरी नहीं कि सितम करके देखो

करम करके देखो रहम करके देखो ।

सामने मेरी अर्जी बाकी तेरी मर्जी है

शगुन करके देखो सनम करके देखो ।

फिसलते हो क्यों हर एक डगर पर 

चलिए संभलकर जतन करके देखो ।

सताया है हमको मोहब्बत में कितना

दिल की सुनो कुछ शरम करके देखो ।

सारी की सारी बीती हुई बातें पुरानी 

खतम करके देखो दहन करके देखो ।

है कितनी मोहब्बत ये कैसे दिखाऊं 

हो तराज़ू कोई तो वजन करके देखो ।

सब हो अपने मन का मुमकिन नहीं

सहन करके देखो नमन करके देखो ।

        डॉ मनीष कुमार मिश्रा

        कल्याण 

Kalidas and Sanskrit drama by Dr Swati Joshi

 

Dr Swati Joshi 

Shrimad Rajchandra Vidyapeeth

 Dharampur

Another aspect concerning Sanskrit drama is specified by Kalidas who supported description and suggested that Natya has spiritual consequence. It is assumed by some of the scholar that Tandava of Lord Shiva has another origin of dance and Sangit originated from Rasaleela dance of Lord Krishna and Gopikas. This can be a religious origin of Drama. The new two different adaptations of fifth Vedas are found in the Bhavaprakasa of Saradatanaya. With the help of Nandikesvara Lord Shiva taught Brahma the Natyaveda and then Brahma taught this to the other sages and his devotees.  Brahma has given the acquiescence to Manu to brought Bharata to the earth and then world become conscious about theater.  Immense assessment of any exertion can be allocated by comparative process of revise. Indeed by this method innovative summit of interest come to light and proves itself a preeminent reading in provisions of Vedas. This method has given an additional feature concerning dramas been made by some scholars that Sanskrit dramas were prejudiced by Greek Dramas.  We focus on two facts that the dramatization of Greek is entirely different from that of Sanskrit Literature and both ancient countries have their own circumstances and intuitions.  Sanskrit and Greek dramas are compared on the techniques. 

Comparison can be done on the basis of –

A) Prasatavna    or the Beginning

B) Patra- Pravesa   or the Presentation of character

C) Arthopaksepakas     or   the Explanatory Devices.

D) The division into Acts.

E) Nirvahana     or   the Conclusion

F) Characterization and dialogue 

G)  Total effect of the section or the Rasas. 

Dramas may be seen on tragic and comic foundations but Sanskrit Dramas are different in representation of both in comedy and tragedy. Sanskrit dramas have both the qualities as it is somewhere pathetic and somewhere using Vidushaka for Harsya Rasa. But it is difficult to define in the particular category of Comedy or tragedy as the Greek dramas are defined. 

Aristotle (poet 1449) says that-

“Both tragedy and comedy began in improvisation, tragedy arising from the dithyramb a choral poem properly in honor of the god Dianysus and comedy arising from the phallic songs. He further intimates that tragedy originally had only one actor, and was a short ludicrous satiric play employing the gay and dancing trochaic meter.”4 

Sanskrit dramas can be seen from different view point as-

“The Primitive Indian play differs in one essential from this suggested origin of tragedy the victory lies with Krishna with Vaicya not with the dark Kansa the black Cudra therefore not sorrow, though there is death and the fact that Sanskrit drama insists on a happy ending is unquestionably most effectively explained if  it be brought into connection with the fact of the origin of the drama in a passion play whose end was happiness through death, not grief.”5 

Another way to evaluate the Greek influence on Indian drama is based on certain features as traditions such as introduction of brave or mythic character, development of the main and sub characters, importance of minor characters in the progression of plot, entry and exit of characters and most important use of curtain. The curtain is called Yavanika in Sanskrit.  One can interpret that India and Greek dramaturgy  both did not know the use of curtain in modern sense that curtain plays the role of differential between stage and the spectator. They may used curtains as the background for the stage or used as a dressing room (Nepathya). It is not confirmed that whether Greek has used a curtain.  In Greek dramas we have “Sannio” of the mimus and in Indian dramas we have “Vidusaka”. The Latter (vidushaka) is always a Brahaman and the joker is from slave or farmer background.   These are essential elements in both the dramas that execute the position of a torch bearer.  Sanskrit dramas do not observe the unity of time and place. One can easily notice changes in scenes from earth to heaven and heaven to earth.  This is completely different from the Greek tragedies.  Greek plays were performed for the masses and understood by every class of society where as Sanskrit dramas were performed for crowd of mythical and erudition taste. Sanskrit dramas were based on the scrupulous state of mind and performed for the realization of Rasa and talked about never-ending delight through Dharma, Artha and Karma where as Greek dramas imitate the action.  Greek Dramas initiate with monologue or a dialogue that is called prologos. It means an introductory speech. Irregularity is an additional dilemma with prologos in Greek Literature.  If hero direct comes to provide his preamble then audience will easily come to be acquainted with him. As for illustration Oedipus speaks in prologue just to give information about him and about others. The problem of revealing the self identity of the hero by himself has been solved by Sanskrit Literature. The Sanskrit dramas initiated with Prastavna, no central disposition come into Prastavna. At that time there was no media to identify the name of the play. So the role of Sutradhara was important in that procedure.  The meaning of Sutra itself is a “bridge or a bonding” that works to make the spectator attentive about the beginning and forthcoming events of the play.  The stage manager or Sutradhara appears and describe or include discussion about the foremost personality of the play. 

“A Sanskrit play is directly approachable where as Greek play demands a fore knowledge of the dramatic theory.’’ 6 

The mission of Sutradhara is to instigate the urge to God and then state the name of the play and the playwright; at last the most vital effort is to construct the happening or juncture for the entrance of the hero and exit.

 For paradigm- 

“Stage Manager- May the Lord Kesava ferry you over a flood of enemies as he ferried Arjuna over the torrent of his foes a torrent gravelly with blades and shafts, with Bhishma and Drona as the guiding banks, where in the King of Sindh presents the river – water, Gandhara’s king a whirlpool, and Angas king a wave ; a steam with Dronas son as alligator , with Kripa as a crocodile and with Duryodhana as the tearing current.”7 

“With these words, my lords and gentleman, I have to announce to you – But what is that? I thought I heard a noise just as I was to make my announcement. Well I must see what it is.”8 

In all the plays of Bhasa, Sutradhara never announced the name of the play as well as the name of the playwrights. That was the chief cause that Sanskrit Literature faced great unsolved problems known as the “Bhasa- Problem.”  The problem symbolizes the vagueness concerning the time and the authorship of the plays. But in Greek Literature lots of things are conformed regarding authorship. Sanskrit dramas are deficient in the tragic catastrophe which is its further attribute that distinguishes it from Greek dramas. Sanskrit dramas never recommend tragic end and if it put forward tragic end then presented with some ethical principles and draw closer to the end which is accepted by the spectator with happiness. Most of the Greek plays deal with the tragic theme.  Aeschylus, Sophocles and Euripides are known for their catastrophic subject matter.  For example – Oedipus Rex is known for his poetic tragic premises. 

“In the Poetics the Oedipus is cited more frequently and praised more highly than any other play.”9 

“Greek drama excels in tragedy but on the contrary, Sanskrit scrupulously avoids it.”10 

Sanskrit dramas also fluctuate from Greek dramas on the derivation of the length of the play. In Greek plays Chorus is seen where as the recitation of the verses is preferred in Sanskrit drama. Along with the Prologue the chorus, the messengers and the supernatural elements/ways were used in Greek Literature for making the overture and to help the expansion of the dramatic achievements. The end is also served by Chorus in Greek Literature.   But in Sanskrit Literature Pratihari (female- door keeper) takes the responsibility of introduction of any character. Nepathyokti is one more imperative component of Sanskrit dramas contains meaning as ‘speech from/ behind the curtain.’ Nepathyokti is such an immense assist to the dramatist when no one is there to initiate a new character.  Sanskrit plays focus on dance form but Greek plays did not give much importance to dance. In Sanskrit Literature the characters are Swadeshi or represent Indian culture and tradition and it disapproves the hypothesis of influence of Greek dramas on Sanskrit Literature. 

“Both in Greek and the Sanskrit drama the essential fact in the contest, from which their origin may thus be traced, is the existence of a conflict. In the Greek drama in its development this conflict came to dominate the play, and in the Indian drama this characteristic is far less prominent. But it is distinctly present in all the higher forms of the art …. Out of which the drama arose.”11 

Thus it can be said that the Sanskrit plays are superior to Greek plays in point of comparative techniques, method, and authentic existence circumstances.  But both the literatures are remarkable in their own field. Comparisons slaughter the magnificence of both the genres as of Sanskrit and Greek Literature. 

According to Historians of Indian Sanskrit literature religion and secularity are the origin of Sanskrit dramas. Even in the early Brahmanical and Buddhist Literature one can find dramatic representation. While interpreting the “Marut hymns” Max Mullar found dramas in Hymns.  The result was that two groups representing Indradev and Marut enacted the hymns.  In Indian studies ‘The Thirteen Plays of Bhasa’ can be considered as one of the major discoveries.  These plays are considered as the earliest of the Sanskrit dramas and till 1912 Bhasas’ works were unknown to us.  The description about Bhasa, Saumilla and Kaviputra can be seen by Kalidas in the introduction of Malvikagnimitra. The discovery of these three authors becomes the landmark in Sanskrit literature because no one was aware about these three writers and about their works. Bhasa’s ancient time is determining from the references of Dandin (7c AD.) and Bana (7c AD). Bhasa has immense superiority in representing the characters in love and separation status and relating these qualities with political issues. Along with these dramatists Sanskrit literature has Bhavbhuti, (c7th century) who has written Malati –Madhava, Mahaviracharita and Uttar Ramcharita. The last two plays were taken from Ramayan. Harsha (606- 648) has written three comic plays Ratnavali, Priyadarsika, and Budhist drama Nagananda and Asvaghosa (1st c A.D) a great contribution to Indian theatre. His significant works are Buddhacaritam and Sariputraprakaranam.

Among all the dramatists the golden age can be considered with Kalidas, Sudraka and Bhavbhuti, who become the creator of great dramas as Sakuntala, Mrcchakatika and Uttararamacarita. Sakuntala is the personification of Kalidas’ poetry. Mrcchakatika is a social play deals with human emotions and Uttararamacarita discusses the two diverse segment of human where he has to do justice with his personal life along with his professional (social) life. Besides these dramatists Sanskrit literature has Visakhadatta, Kulasekharavarma, Rajasekhara, Murari, Bhattanarayana, and Saktibhandra. They have immense involvement in the expansion of Sanskrit literature. Another essential quality of the playwright is to compact with the theme/plot, imagination of the characters and appropriate creative dialogue and the delivery of the dialogue.   

As Bharata says, “Iti Vratam tu natassasya shariram parikirtitam”12 

The above statement means “The theme or the plot is the bulk of Natya, to search out the theme, the ‘body’ of drama.”

The source of all themes/plot deals with enormous recitation, admired fictions or from the creative world of the poet. The plot which is related to enormous recitation may be the record of legends like the Ramayana, the Mahabharata, the other Puranas and the Kathasaritsagar.  But Nataka has no place for creation or inventive world. It is necessity for Nataka to have a legendary theme. But there are lots of story which is related to Legends then what should be the theme of the Nataka. There are more than sixty four specialties ‘angas’ in Natyasastra but it is difficult to get all these in one theme. ‘Turns of surprise and the unexpected’ is the essential mark of any dramatic plot.  The plot based on the foremost character. The minor characters become the progressive fraction of drama.  Bija, Bindu, Pataka, Prakari and Karya is five significant essentials that construct drama.  Bija means the beginning of the plot (seed). Bindu symbolize the progress of the play. Pataka means the development of the play. Prakari deals with the pause in the play. The conclusion comes in the form of Karya. 

Bharata says, “The five Elements of the Plot are designated as the Germ(bija), the Prominent Point (bindu) the Episode (pataka)  the Episodical  Incident (Prakari)  and the Denouement (Karya)  and these are to be used according to prescription.”13 

 

The Germ is presented by Sutradhara in a form of introduction (Prastavna) or used before first Act. Without Germ the introduction of the play is insufficient.  After Germ the prominent point is exceptionally essential for plot to give the right direction to the beginning of the story or theme. 

According to Bhasa, “That which sustains the continuity till the end of the play even when the chief object is (for the time being) suspended, is called the Prominent Point.”14 

Spectrum of Sanskrit Drama by Dr Swati Joshi

 Broad-Spectrum of Sanskrit Drama 

Dr Swati Joshi 

Shrimad Rajchandra Vidyapeeth

 Dharampur

India has rich heritage of Sanskrit Literature, mainly drama which contains lengthy history. Poetry itself is a part of Drama. Sanskrit dramas are somewhere in unseen obscurity a dilemma where no one can give the authentic information about Sanskrit Literature as in form of drama. But it is believed that the dramatic performance was a part of early Vedic period.  References can be seen in festivals, religious process where the legends are seen in form of drama and mime. Sanskrit Dramas are not written for specific audience, time and places and it can be said that Sanskrit dramas has universal touch that talked about morals, personal and social ethics, principles of decorum and the message for living being that provide motivations for social customs and observances and the sanctioned and ethical rules of society by which people conduct their lives. Sanskrit dramas construct and encourage ethical values for the society and human beings. It shows the difference between virtue and vices and deals with social norms created to maintain harmony among social, religious, spiritual, cultural, and mythical inheritance of people. Sanskrit dramas are full of different emotions of human being. Sanskrit dramas were written and performed to explain the recognition and significance of artistic happiness. The aim of Sanskrit Drama is to attain synchronization out of the broad trap of commotion and to create tranquility out of disorder.  Sanskrit Dramas are like an art and the utility of art is not to create confusion for the spectators but to support to emerge from the stumbling block and to achieve serenity against communal, financial and biased belief.  It can be said that an art can be the soothing and remedial medication which is executed by Sanskrit Dramas.  Sanskrit Dramas are combination of dance, music, gesture, imitation and action which is the summit structure of art. Sanskrit dramas are countless and diverse having one act play to very full length play. Sanskrit Dramas contain best poetical composition. Even one can say that primitive stories are in form of a drama because we need intermediary to articulate something and drama is the most excellent approach at that time to convey the message.  

Daniel   H. H. Ingalls has written

“The Sanskrit play is not a drama, for the word drama means action and can only refer to a piece where action and the conflict (agonia) of character and principle are essential factors of the piece. The Sanskrit play has been described by those who best know it, as a Drsyakavya, a spectacle poem. Their text is lyric rather than dramatic and this text functions as an accompaniment to pantomime, dance and music. The object of this combination of arts is the unfolding of mood (rasa). Always it is mood rather than plot which determines the context and selection of a sanskrit play. The mood of love (srngara), for example, must be furnished in both major varieties as love- in- enjoyment (Sambhoga) and love in Separation (Vipralambha/Viraha)”1 

Professor Pischel was of the opinion that the puppet plays were the foundation of Sanskrit drama. It can be said that the root of drama is derived from dance. The Sanskrit word for drama is Nataka or Natya- perhaps a wider expression of the drama because it represents different situations in life. Nata means the actor and Natya means mimic. The word Nart resembles to dance. Natya is called Rupaka that means a subject matter which is represented by actors assuming meticulous disposition and which has Rasa and attitude for its substratum, is divided into ten classes and also called Rupa which means it has Drisyata or the capability of being seen.  Uparupakas means Minor Drama contain eighteen species and in that Natika, such as Ratnavali, Viddhaslabhanjika, Trotakas such as Vikramorvasiya is mainly essential. 

As Bharata’s saying that Drama arose out of the desire of the gods who prayed to Brahman in these terms -

“We want an object of diversion which must be audible as well as visible.”2 

The sagacious Bharata is the originator of the skill of music, dramaturgy and his work called the Natyasastra. Bharata believed in the Vedic origin of Sanskrit drama. King Indradev with other Gods called Brahama, the maker and requested him to organize a source of entertainment for all the social classes and Brahma has to create new Veda called Natyasastra with similar essential qualities from Vedas for all as well as for Sudras as they were not permitted to deal with Vedas.  Brahama composed the fifth Veda with the help of Rigveda, Samveda, Yajurveda and Atharvaveda.  Brahma took dialogue from Rigveda, music from Samveda, the art of demonstration and simulation from Yajurveda and sentiments from Atharvaved and gave it to Indradev.  The maker then delivered the Natyasastra to Bharata who transported it to the earth with his hundred songs and for making it complete added Kaisiki Vratti, which were endorsed by Apasaras.  Afterward, they manufactured the Natyagrah and further the Rangapooja. 

As Bharata says,

“The poet should write plays that are well knit through the Junctures (sandhi) easily stage able, delightful, and full of mild words. The situation of man, arising out of pleasure and pain and related to many people should be there in the drama and again, ‘The presentation of human nature in its various conditions through histrionic devices is called drama.”

मीर गालिब की नस्लें

 

मीर गालिब की नस्लें चैट जीपीटी वाले शायर बनेंगे 

छा जाएंगे इंटरनेट दुनियां पर ये पुष्पा द फायर बनेंगे ।

ऑनलाइन डेटिंग, चैटिंग, सेल्फी के बेताज बादशाह

अभी कतरा हैं देख लेना ये भी एक दिन समंदर बनेंगे ।

तकनीक से दो दो हाथ, साथ ही घंटों रियाज़ करते हैं

निराश क्यों हो अम्मी अब्बू, ये यकीनन सिकंदर बनेंगे ।

हज़ारों ठोकरों के बीच जब, बेरहम सवाल खड़े होंगे

लड़ेंगे जूझेंगे हकीकत से, गलत है कि ये कायर बनेंगे ।

ये नौकरी की तलाश में नहीं स्टार्ट अप के नायक होंगे

तेज़ रफ़्तार वाली जिंदगी में ये ट्यूब लेस टायर बनेंगे ।

इतनी चिंता करने से पहले सोचिए हम आप क्या थे ?

यूं हमारे वालिद भी कहते थे, हम बस फटीचर बनेंगे ।

इन हांथ की लकीरों में, अब कौन जाने क्या लिखा है 

पर मुझे भरोसा है कि हमारे बच्चे हमसे बेहतर बनेंगे । 

                        डॉ मनीष कुमार मिश्रा

                         सहायक प्राध्यापक

                         के एम अग्रवाल महाविद्यालय

                         कल्याण पश्चिम,महाराष्ट्र

                        manishmuntazir@gmail.com

रूठकर न जाओ हंस के जाओ बुरा क्या है

 

रूठकर न जाओ हंस के जाओ बुरा क्या है

ये दिल किसी और से लगाओ गिला क्या है।

जाते जाते इतना तो हक दे दो कि पूछूं तुमसे 

जो भी हुआ आखिर उसमें मेरी खता क्या है।

चमकीले कांच के टुकड़ों पर मर मिटने वाले

मेरे बाद सोचोगे कि खोया क्या मिला क्या है।

उदास मौसम में कर के याद रोओगे ज़ार ज़ार

इन्हीं लम्हों में जानोगे वफ़ा क्या है दगा क्या है।

यदि किसी मोड़ पर हो गया आमना - सामना 

तब बताना मुझे जिंदगी में तेरी खुशनुमा क्या है।

                        डॉ मनीष कुमार मिश्रा 

सृजनात्मकता

 अब अक्सर 

अपनों के बीच 

वह लावारिस स्थिति में 

पड़ी रहती है चुपचाप

हालांकि उसका संबंध

संकल्पों, विकल्पों की मनोदशा से

बहुत ही पुराना है।

उसका विनम्र चेहरा 

कितनी ही उलझनों को

सुलझाता रहा है

उसके पास होने की शर्त 

बस इतनी है कि

आप 

अधिक से अधिक

सहिष्णु, संवेदनशील 

और मानवीय हों।

लेकिन आज 

सत्ता, अर्थतंत्र और धर्म की तिकड़ी 

वैचारिक रीढ़ के अभाव में

उन्माद से भरे हुए हैं

परिणामतः

समाज की परिधि से

वह लगातार

निर्वासित हो रही है।

प्रचारित विज्ञापन

प्रचलित किए गए सिद्धांत

छलाओं का मायाजाल 

मिलकर बुन रहे हैं

एक ऐसी संस्कृति

जो दरअसल

विकृत एवं विभत्स का

समुच्चयात्मक कूड़ा है 

जिसके नीचे 

उसे 

खोदकर गाड़ने की 

तैयारी भी जारी है।

संवादहीनता, आत्मकेंद्रियता

बिखराव, कलह 

और मनोरंजक विवादों के बीच

उसकी सादगी

उसके मूल्य 

इस नई व्यवस्था में

लगभग सभी को

असहनीय लग रहे हैं ।

जड़ताओं के बीच

उसकी जगह 

छोटी होती जा रही है

वैचारिक सतहीकरण के बीच

नगण्य सी स्थिति में

वह कमतर आंकी जा रही है

उन चमकीले, चिकने मुखौटों की तुलना में

जो 

बाजार की ताकत से

कमजर्फी से फूले हुए, फूले नहीं समा रहे 

इन सब के बीच 

किसी अंधेरे कोने में धकियाई हुई 

वह चुप है

अपनी उपेक्षा पर

लेकिन क्रोध से

लाल हो रही हैं, उसकी आंखें ।

बाजार को भरोसा है

कि धीरे - धीरे 

सब उसके अनुकूल होगा

जल, जंगल और ज़मीन ही नहीं

विचार और सपने भी

उनके गुलाम होंगे।

दुनियां की गतिशीलता में

साझी ज़मीन

असहमतियों से पनपी

 सहमति के बिना

अंततः ख़ारिज हो जायेगी

और वह 

एक अचरज भरी पहेली की तरह

बिना सही पते की

कोई चिट्ठी हो जायेगी।

उसके पास

व्यथा की

कितनी कथाएं होंगी ?

कितना कुछ

बचाने का रक्षा सूत्र भी !!

लेकिन

इस नई व्यवस्था में

उसपर भरोसा किसे है ?

वह

किसी भी तरह

बिकाऊ नहीं है

यही उसकी अंतर्निहित शक्ति है

पर चतुर लोग

उसे समझाते हैं कि

भ्रम तोड़ो !!

अपनी कब्र

ख़ुद मत खोदो !!

मनुष्य होने की आग

अपने अंतर्निहित स्रोतों में ही

मद्धिम हो चली है

मनुष्य का अस्तित्व

भ्रम का 

एक मकड़जाल सा हो गया है

ऐसे में

एकमुश्त सच यही है कि

उसकी चुप्पी

उसका निर्वासन

कानों में पिघलते

गर्म शीशे की तरह

पीड़ादायक एवं असहनीय है ।

मनुष्यता की हत्या के लिए

उसपर यह बेरहमी 

बेहद जरूरी है

जरूरी है उसे इतनी यातना देना

कि उसकी आत्मा छिल जाए 

ताकि उसकी आखों से

आंसू नहीं रक्त बहे।

मैं

उसके खिलाफ नहीं

पर साथ भी कहां हूं ?

लेकिन

अपनी तटस्थता को तोड़ते हुए

मैं पहुंच रहा हूं उस तक 

हर संभव

अतिक्रमण के साथ।

उसकी तमाम पीड़ाएं

अपने आप में

एक युद्ध है 

जो लड़ा जा रहा है

इस ध्येय वाक्य के साथ कि -

डरो मत ।

इस स्याह रात की 

निस्तब्धता में भी

उसकी चेतना की 

निष्कम्प लौ

परिमार्जन, परिष्कार की

उम्मीद को 

बचाए हुए है ।

विज्ञापित मूल्योंवाला

यह छिन्न -भिन्न समय

एक दिन

अपने तिलिस्म में ही

दरकने लगेगा

फिर उसकी चुप्पी 

सिसकी में बदलते हुए

झरने की तरह

फूट पड़ेगी  ।

उसपर

मेरा विश्वास पुख्ता है 

इस निरीह समय में

मुझे अब भी

उसी से उम्मीद है

क्योंकि उसका अतीत

विराट संकल्पों के 

आस्था का इतिहास है । 

            डॉ मनीष कुमार मिश्रा