Relevance of The Middle one in the Contemporary Context

 Relevance of The Middle one in the Contemporary Context

Dr Swati Joshi 

1 The Middle one symbolizes the middle of everything neither beginning not end. If there is a very tragic journey we remember the beginning and we remember the conclusion. (Outcome of anything) but the middle path that we crossed is hardly remember. Here the Brahmin family on a mythical journey created by Demon. This happens in every struggle that we have to sacrifice something to overcome the critical situation. Here the Brahmin with his three sons encounters the situations where he had to sacrifice one out of three. He buys a crucial balancing on the skill besides to sacrifice his middle one. 

Relevance

In contemporary context somewhere we have lost the tendency to take the middle path. Here middle path symbolizes solution and in contemporary society if people are taking middle path then they are considered as weaker part of the society. In contemporary society middle path symbolizes weakness and defeat. It symbolize lose of power because everybody is ready to fight as they are in battlefield. Middle path also symbolizes peace but in contemporary society we do not have mental and physical peace. One another important thing is that people are doing medication and other activity to find out the peace but we are not able to understand one simple thing that we as human being having many problems in life and if we are able to find out the solution by accepting and applying middle path then our problem will be solved easily and quickly. After this activity no need to go for in search of peace. The contemporary society has this mindset that middle one (path) is related with adjustments and adjustments are always with not fully agreement.  But there is big difference between middle path and adjustment this everyone has to understand. 

2 Mythical Bhrahmins are known to be preacher and teacher class and whenever there is a need of physical combat he looks towards others for his rescue. He does not want to run risk for his life but he would like to risk others life. He thinks it as their duty and his rights and in this critical situation when he has to sacrifice his son he remembers Pandavas who are known to be the saviors. 

“In Classical Indian Mythology, the world is a dream of Brahman, created and destroyed by him during every one of his days.”58 

Relevance

This is a mythical concept that Brahmans are only for teaching and preaching. They ask other to protect them and their family. It is considered that the Brahmins are having great and respectable position in every era or age. Here the question arises that Brahmans are respectful and on the highest position in the society then why Ghatotkaca became ready to take one of the Brahman family member. Second question is that Brahman was looking for help to save his family. Even in contemporary society people of the society are ready to protect Brahman in any situation. Even today there is a special position of Brahman in the society. But now we need change that every caste, every person is important having equal rights and responsibilities. 

3 Psychologically you wanted to remember something you are ready to substitute someone for the other life. This is their personal individual decision to protect others. 

Relevance

  In mythical concept sacrifices symbolizes “Sacrifices for the betterment of others.” Sacrifice is good actions for others and done by selfless giver. There are many examples from the mythology as the sacrifice of Karna, Kunti, Ram, Sita and Lakshman, Sacrifice of Hanuman and many more examples and these examples show that all the sacrifices are made for good noble cause. But the modern contemporary context has raised many questions toward these sacrifices. The contemporary context raised a question “are the sacrifices healthy and beneficial sacrifices?  This is one point that needs long discussion. 

4 Noose – There is a symbolic mythical meaning of it. It symbolizes thorn for thorn. There are arms which are for our safety and destruction. It only depends on how we use it. It is completely depends upon purpose like protection or attack. 

Relevance

There are many examples of Noose in mythical stories where Gods are using it at different circumstances. Hanuman was abided by the noose of Brahmastra by Meghnath in Ramayana. The noose symbolizes to control. But if it is used to attack someone with terrifying intentions then Noose shows worst effect. In Middle One Ghaotkaca also uses his magical noose given by his mother to protect himself but he uses as the weapon against Bhima to defeat him. In contemporary modern times all the countries are having lots of magical weapons which make nations powerful and it gives the feeling of security and self defense. Then these mythical magical nooses (weapons) are used in a positive (protection) manner but when these nooses (weapons) are used to destroy others. They become destroyer. (Attack)  In contemporary context we have to use these nooses with cautions and with correct and good intentions.  

Ghatotkaca used the magical noose not for self defense but to attack on Bhima. This symbolizes that as a youth it is his responsibility to think that having power in hand does not mean that one has the liberty to take it for granted. This is highly relevant to the contemporary social youth who are future of any country. The terror and terrorist are the best example of youth who has the power to create and to destroy the world. Youth of any nation must know that what are their rights and responsibility. 

“What are the most potent weapons of war? He asks, Not bombs or bullets or AK 47 but young men in the age group of 14-24 fed on hollow ideology, anger and hatred as was Hidimba’s Ghatotkach.”59 

5 The Middle one mythical symbolizes that middle path is unwanted. But it should be tendency to take the middle path and not to go for extremist condition in life. But we are always ready to easily give the middle path and ready to go for the extremist. 

Middle path has given solution in history. Middle path has the power and way to solve the problems. For Example- 

1 Catholic Church 

2 Terrorism and terrorist 

3 Caste issue and religious issue 

4 Divorces and Marriage 

5 Even the suicide of children (the extremist step of children and the extremist ignorance of parents)

Relevance

It is believed the contemporary modern society has many psychological and mental struggle issues. The stressful life leads to harmful situation. Extremists are always hazardous for everybody. To abstain from the extremist condition one should take middle path that can be seen as the remedy for problem. For example ‘Hidimba’ the mythical character represents relation with Bhima which is beyond the limit of caste, human, demons, religion, beauty and bravery. She is presented in the play as the mother of Ghatotkaca whose father is Bhima. This is again highly relevant with the contemporary society that even today we can see the same situation where inter caste marriage or to be with together (live in) is common. This mythical concept is still present in the society and this is done by Arjuna, Krishna, who are having more than one wives or they are in relation with other women.

“Hidimba -that can easily be identified in any contemporary matrimonial negation where the caste and status of the two parties is not compatible.”60 

6 According to Indian Mythology husband and father as Men both are revealed as deity. 

“Hidimba- Idiot! He is our God. 

Ghatotkacha- Who’s God?

Hidimba- Yours and Mine!”61  

Relevance

In contemporary context also the father and husband figure is considered as in form of deity. But they are considered in particular form because they all are men. We never thought about the relationship like father, husband, brother, or son but we think or believe in unconscious mind that they are respectful because they all are men. In contemporary society everybody should be given equal respect and honor to every relationship like mother, wife, sister and daughter as women. To maintain harmony and balance in the society and to be create a place to live for everybody happily and peaceful (men/women) we have to give equal rights and honor to both the gender.

There must be an attitude to see things critically. Compromise is the middle path. It is unfortunate that the middle passage remains either unnoticed or ignored by most of the people. This truth is highlighted in the present drama. The younger child and the eldest child are well protected in the play but who would care for the middle one. Be it a middle child or passage but it always experiences a kind of insignificance and unwanted as it is in the play. It is that feeling of insignificance and un wanted which leads the character middle one to think about committing suicide. Another relevance of the present play in the contemporary context is that whether it is middle path taken by a person or a middle child who is not much attended by parents feels that he is weak, insignificant and so of no use.  Mankind in the contemporary times prefers to be on the sides nobody is ready to consider middle passage of moderate behavior.

We all know literature is not what it seems. It functions on various levels. The most explicit meaning is the useless meaning according to Sanskrit Natyashashta but the implicit meaning is pleasure giving. Plato to Eliot all say literature teaches while pleases and pleases while teaches. So the lessons given in life may be abstract but helpful. 

1 Pratima Natakam (The Statue Play)

The play Pratima Natakam (The Statue Play) is based on great Indian Epics the Ramayana.  

The Statue Play is divided into seven acts. The title of the play itself suggests that the play is about Statue and it has the central position in the play. The Statue has a symbolic meaning in the play. The Play presents helplessness of a father who is abiding by the oath and helplessness of a son who is not able to do anything even if he wishes. 

The central characters of the play are-, King Dasaratha and his three wives Kausalya, Sumitra and Kaikeyi, Rama, Lakshmana, Bharat and Satrughna who are the sons of King Dasaratha, Sita who is the wife of Rama, Sumantra who is the minister of Kingdom of Dasaratha, Ravana- king of Lanka, Sudhakara- the caretaker of the statue gallery, Ravana – the king of Lanka, Stage Manager, Portress Vijaya, Avadatika and Nandanika who are the maids of Sita are supporting character of the play. Among all the characters the character of Bharat is having central position because he is the only one who provided meaning to the statue in the Gallery. As we have seen many plays of Bhasa deal with the concept of war or the war like situation, but the statue play deals with the concept of losing, gaining, demands, giving, happiness, sorrow and sacrifice. This play has binary concepts. Of course it can be said that there is a cold war situation in form of Kaikai and Dashrath, and sacrificial war among Ram, Bharat, Lakshman and Sita. They all are ready to do sacrifice for each other. 

Dr Swati Joshi

Gujarat 

Madhyama- Vyayoga (The Middle One)

 Madhyama- Vyayoga (The Middle One)

Dr Swati Joshi 

 The Middle one is one act play narratives. The title of the play itself suggests that the play is about Middle One who dominates the complete play. The play presents the helplessness and selfishness of one parent who is having three children. On the contrary it can be said that the play also represents the sacrifice of one of the child among three who is somewhere seems unwanted or less lovable in comparison to other children. The play begins with the stage manager who prays to God –

“May Hari’s foot protect you – a torment for the hearts of demons’ dames – lotus –blue like a burnished blade. His foot upraised to overstep the triple world, which gleams like a bridge of beryl in the ocean of the sky.”51

 The other characters of the Middle one are Old man who is the Brahman Kesavadasa, his wife and his three sons. They are first son, second son and third son. The names of the children and wife are not mention in the play. Another important character who dominates the play the Middle One is Ghatotakaca who is the son of Bhima and Hidimba. Then Bhima is next character who is known as middle one by his brother as here it is considered that there are only three sons of Kunti. The last character is Hidimba who is considered in the play as the wife of Bhima and mother of Ghatotakaca. Among all the characters of the play the character of Bhima who is known as middle one is very important along with the character of second child who is also known as middle one.

 Like other plays of Bhasa The Middle one is not representing the situation of war and the description of battlefield. But it can be said that there is a symbolic war situation between the relationship of characters, war of mental stress, war of sacrifices and selfishness or selfish less work. There is the description of war of hunger, duty of a son towards his mother, and war to sustain and to be safe. All the characters of the play moves around of these key words. All are trying to handle the situation on their level.

Plot Construction of The Middle One (Madhyama- Vyayoga)

 The play begins with the description of the prayer done by stage manager of Vishnu. After that suddenly the stage manager hears some noise a conversation between the Brahman and his wife. Then again stage manager comes and describes the character of Brahman who is terribly in fear with the appearance of Ghatotkaca. Bhasa very beautifully informs the audience that Ghatotkaca is an ogre and the son of the middle Pandava (Bhima). The description of the Ghatotkaca and Brahman is like this-

“This is an aged Brahman and his wife, with their weary children round them, followed by a monster of the night. He is distraught like a bull with his cow and frightened calf pursued by a tiger.”52

 The stage manager leaves the stage after this description. The aged Brahman, his wife and his three children are surprised to see the half human and half demon in the form to Ghatotkaca. Ghatotkaca comes there to find out a man for the dinner of his mother. The Brahmin and his family members are in fear of ogre.

“Old Man- This forest is haunted by demons; you must proceed with cautions. The very danger has befallen us.”53

  The Brahman family comes to know that even the four Pandavas are also here in the forest. The old man tells his wife that they can take the help of Pandavas because they are also here in this forest. The Brahman believes that he and his family will be saved by one of them.

“Now the Pandavas are fond of battle and kind to those who seek their protection: men of mighty deeds, taking sides with the oppressed. They have the power to inflict proper punishment on such perpetrators of frightful deeds.”54

 But unfortunately Brahman was informed by his first son that the Pandvas are away from this place. They have gone to do sacrifice in the yagna of Dhaumya’s ‘One Hundred Vessels”. The Brahman said now I have lost the hope to escape or saved by Pandavas. But then his first son again said that all four are not away from here. The middle one is here to look after his hermitage and must be somewhere here to do exercise. Ghatotkaca told them his mother is in need of one man for her breakfast.

“Hidimba: At last I have now found my much loved food; my mouth is watering. Happiness is clasping me. My eight sharp tripped tusks, whose thrust none can withstand, I will at length bury in the bodies and the tender flesh. I will leap on to a human neck tear the veins open and drink my fill of the warm, fresh foaming blood. Go; find out who is lying there in the forest. The strong human smell seems to refresh my nose. Kill all these persons and bring them to me.”55

 The Brahaman asks him is there any way to escape. Ghatotkaca replies that he needs only one man from his family others can go. Now the question arises who should be sacrificed for the family. Then the Brahman decides to sacrifice himself for other family members. Then the wife becomes ready to give her life for the rescue of the other family members. But Ghatotkaca refused to take both of them because the Brahman was old and his wife is having female sex. Now Ghatotkaca focuses on his three sons. He asks to give any one of the son. The Brahaman says that he wants his eldest son and the mother wants the youngest son. Now the choice is the middle one of the family, after knowing that he will serve his family he is quite happy. The middle one is thirsty and he asks for the permission to drink water from the near lake. Ghatotkaca is in hurry to satisfy the hunger of his mother, so he asks the Brahman to call his son soon. Ghatotkaca is eager to take him to his mother. He asks Brahman what is his name but he was not able to pronounce his name in grief. Then the first one calls him by Middle one.

“The ascetic unfortunate middle one.”56

 Then Ghatotaca shouts his name loudly “middle one” (Madhyama, Madhyama) come fast I am waiting for you. This noise is heard by Bhima (his name was also Middle one) who was also near them. But Bhima avoids it because he is busy in doing exercise. But, Ghatotkaca constantly calling his name middle one loudly. Bhima gets irritated. The Brahman boy the middle one comes over there. After some time Bhima also comes there, seeing Bhima the Brahman requests him to protect his son from the giant. Bhima asks Ghatotkaca to release the son of Brahman and offers himself at the place, but Bhima asks Ghatotkaca that he is ready to go with him but first Ghatotkaca has to fight with Bhima. Ghatotkaca is ready to fight with Bhima. First Gharotakaca has thrown a big tree on Bhima. But Bhima escapes and now they both indulge in hand to hand fight. But both are equal. Then Ghatotkaca tries to control Bhima by the magical noose which is given by his mother Hidimba. But the noose fails. After that incident Bhima decides to go with Ghatotkaca. They reach to the place where Hidimba is situated. Ghatotkaca calls his mother that he has brought some one for her meal. Hidimba recognizes Bhima and calls his son lunatic by saying that –

“He is a deity of yours and mine.”57

 Hidimba says Bhima is your father salutes him. Then Ghatotkaca says that he is ready to burn the fire in the Kingdom of Dhritrashtra. Hearing this Bhima becomes happy and says that this is what a father wants from his son and embraces him. The Brahman family also comes over there and becomes happy to know that Ghatotkaca is the son of Bhima and then the Brahman family leaves the place. At last Ghatotkaca and Bhima go along with Hidimba.

Dr Swati Joshi

Gujarat 

Karna’s Psychosis

 Karna’s Psychosis 

Dr Swati Joshi 

There are symptoms of slight Psychosis in every person. When you perform an activity more than needed then you are leading to the Psychosis. When you try to go to the level of Extremists it creates destructions but it should be considered that there are the people who are doing for the betterment of the society. When a person is imbalanced is in his action or thinking then he is in the category of insanity. Extreme rain will cause flood and extreme heat will cause draught. The reason behind his extreme actions was his abandonment at childhood. 

      “Ati ka bhala na bolna

Ati ki Bhali na chup

  Ati ki bhala na barasna

Ati ki bhali na dhup”

At last it can be said that a person who is not able to raise the voice against the injustice they are in the category of “Psychosis” because they are not able to understand the difference between right and wrong and even if they know they do not want to react or emerge the voice against it. Karna is in the category of this where he knows everything but do not want to react. 

“The world of the Person suffering from psychosis can turn into this meaningless confusion consequent on a failure to differentiate inner and outer reality.”47 

But on the other side Karna is also suffering from the mental and physical struggle. Knowing everything and then react it is such a big task for any human. He knows everything then he chooses his death. That is again a courageous and heroic task if we follow the mythical concept. But in contemporary society this mythical concept is not acceptable where everybody thinks about themselves. To fight with others is easy but to fights with own person is very difficult. The same condition is faced by Karna. Karna was fighting on two fronts. One is with his own self (to be or not to be) and second with his family as Pandavas. We even cannot imagine the mental pressure of Karna where he has to take the decision of fight and giving.  So it would be injustice for the character of Karna to limit his character with boundaries of limited mythical concept or with contemporary society. 

2 Salya-

Salya is the character who was always in touch with Karna and giving advice to Karna in the battlefield. This symbolises his dedication towards Karna. He comes to us as advice giver and also the friend of Karna who is ready to hear the pain of Karna. He also shows sympathy to Karna. He alerts Karna for not to give armour to Indra. Salya was able to recognise the intentions of Indra. 

“Salya- King of Anga, you have been cheated. ......By Indra.”48 

Dr Swati Joshi

Gujarat 

हिंदी साहित्य की महत्त्वपूर्ण पत्रिकाएं

 पत्रिकाओं/सम्पादकों के ई -मेल

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61. प्रवासी जगत, डॉ. गंगाधर वानोडे (संपादक), gwanode@gmail.com pravasijagat.khsagra17@gmail.com

62. शैक्षिक उन्मेष, प्रो. बीना शर्मा (संपादक), dr.beenasharma@gmail.com

63. पल प्रतिपल, देश निर्मोही (संपादक), editorpalpratipal@gmail.com

64. समय के साखी, आरती (संपादक), samaysakhi@hmail.in

65. समकालीन भारतीय साहित्य, रणजीत साहा (संपादक), secretary@sahitya-akademi.gov.in

66. शोध दिशा, डॉ गिरिराजशरण अग्रवाल (संपादक), shodhdisha@gmail.com

67. अनभै सांचा, द्वारिका प्रसाद चारुमित्र (संपादक), anbhaya.sancha@yahoo.co.in

68. आह्वान, ahwan@ahwanmag.com, ahwan.editor@gmail.com

69. राष्ट्रकिंकर, विनोद बब्बर (संपादक), rashtrakinkar@gmail.com

70. साहित्य त्रिवेणी, कुँवर वीरसिंह मार्तण्ड (संपादक), sahityatriveni@gmail.com

71. व्यंजना, डॉ रामकृष्ण शर्मा (संपादक), shivkushwaha16@gmail.com

72. एक नयी सुबह (हिंदी त्रैमासिक), डॉ. दशरथ प्रजापति (संपादक), dasharathprajapati4@gmail.com

73. समकालीन स्पंदन, धर्मेन्द्र गुप्त 'साहिल' (संपादक), samkaleen.spandan@gmail.com

74. साहित्य संवाद , संपादक - डॉ. वेदप्रकाश, sahityasamvad1@gmail.com

75. भाषा विमर्श ( अपनी भाषा की पत्रिका), अमरनाथ (प्रधान संपादक), अरुण होता (संपादक), amarnath.cu@gmail.com

76. विश्व गाथा, पंकज त्रिवेदी (संपादक), vishwagatha@gmail.com 

77. भाषिकी अंतरराष्ट्रीय रिसर्च जर्नल, प्रो. रामलखन मीना (संपादक), prof.ramlakhan@gmail.com

78. समवेत, संपादक-डॉ.नवीन नंदवाना, editordeskudr@gmail.com

79. तदभव, संपादक: अखिलेश, akhilesh_tadbhav@yahoo.com

80. रचना संसार, भारत कात्यायन (संपादक), rachanasansar@gmail.com

81. शब्द सुमन मासिक पत्रिका, सम्पादक-डॉ रामकृष्ण लाल ' जगमग', 2015shabdsuman@gmail.com

82. अनुराग लक्ष्य, संपादक- विनोद कुमार, vinodmedia100@gmail.com

83. सरस्वती सुमन (मासिक), संपादक- आनन्दसुमन सिंह, saraswatisuman@rediffmail.com

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89. त्रैमासिक आदिज्ञान, संपादक-जीतसिंह चौहान, adigyaan@gmail.com

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91. चौराहा (अर्द्धवार्षिक), संपादक - अंजना वर्मा, anjanaverma03@gmail.com

92. निराला निकेतन पत्रिका बेला, संपादक -संजय पंकज, dr.sanjaypankaj@gmail.com

93. इंदु संचेतना(साहित्य परिक्रमा), गंगा प्रसाद शर्मा'गुण शेखर'(प्रधान संपादक),थिएन कपिंग(कार्यकारी संपादक,चीन),बिनय कुमार शुक्ल(संपादक), indusanchetana@gmail.com, indusanchetana.blogspot.in

94. समय सुरभि अनंत (त्रैमासिक ), सम्पादक- नरेन्द्र कुमार सिंह, samaysurabhianant@gmail.com

95. औरत मासिक पत्रिका, संपादक डॉ विधुल्लता ,भोपाल (मध्यप्रदेश), aurat.vidhu@gmail.com

96. वार्ता वाहक-श्रीवत्स करशर्मा(संपादक), vartavahak@gmail.com, 

97. नागरी संगम-डॉ हरिपाल सिंह(प्रधान संपादक), nagrilipiparishad1975@gmail.com

98. सेतु (पिट्सबर्ग से प्रकाशित), अनुराग शर्मा, setuhindi@gmail.com

99. स्त्री, प्रो. कुसुम कुमारी (संपादक), chitra.anshu4@gmail.com

100. चिंतन दिशा, संपादक-हृदयेश मयंक, chintandisha@gmail.com 

101. आधुनिक साहित्य, संपादक डॉ. आशीष कंधवे, aadhuniksahitya@gmail.com

102. अनभै, संपादक- डॉ.रतनकुमार पाण्डेय, anbhai@gmail.com

103. कथाबिंब - सं.डॉ.माधव सक्सेना अरविंद, kathabimb@gmail.com

104. संयोग साहित्य- सं.मुरलीधर पाण्डेय, lordsgraphic@gmail.com

105. नई धारा – संपादक- शिवनारायण, editor@nayidhara.com

106. नया पथ- संपादक- मुरली मनोहर प्रसाद सिंह/चंचल चौहान, jlsind@gmail.com

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121

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https://www.thepurvai.com/two-ghazals-by-dr-manish-kumar-mishra/ 

Karna’s Sacrifice- A Healthy Sacrifice?

 Karna’s Sacrifice-  A Healthy Sacrifice?

Dr Swati Joshi 

Now the question arise is it a healthy sacrifice? Karna has given what has come with him by birth, essentially limbs of your being. How will you justify this sacrifice? 

“Don’t be alarmed. Forgive me, holy man. Listen again. My body armor was borne with my limbs, nor god nor fiend can pierce it with their weapons. Yet will I gladly give it thee, with both the ear- rings, if it please thee.”45

          The answer may be even in his giving there were resources of taking and what was he is taking that is “immortality”.  The intentions are questionable if a person does not want to justify the deed of action. The same thing is with Karna who is not able to ask a single question that why Indra in form of beggar wants this. It can be said that this gift giving of Karna makes it useless because there is no use. It cannot be reusable or re adjustable to other bodies. “He just wants to give it as a face saving activity.”

Relevance

   Even in contemporary society people are ready to give donation but without thinking that is it good for the opposite party who takes the donation. In contemporary society everybody who gives, gives for fame and to get a high position in society. 

           There is a big difference between action and intention same as civil offence and crime. This theory can be applicable for the character of Indra whose intention to take the armour of Karna is not good. To save the life of Pandava he has done this work and left Karna to die. This is highly relevant in the contemporary society where every human being is doing every work with intentions and the intentions may be good or evil. But every act and deed has intention even the donation

6 Karna from the Keren Horen perspective

There is a theory of Personality given by Keren Horney where Horney discusses that there are the three categories of people in the society. 

1 People who move towards society

2 Move away from the society.

3 Against the Society. 

In first category there are the people who are ready to do anything to get a prestigious position in the society. They are in the category of – for the society, by the society and of the society. They are ready to accept and to do anything to be the part of society. They are ready to go to the level of extremist. In the second condition where people move away from the society as saints do. The third condition is against the society in which people are in the rebellious form as terrorist, Hitler. Karna is in the category of person who moves towards society but in an extremist way. He just wants to prove that he is also an important part of society and even society is ready to accept him. They are the yes people of the society. 

Dr Swati Joshi

Gujarat 

Karna and Indra the winning and losing game

 Karna and Indra the winning and losing game

Dr Swati Joshi

Gujarat 

Karna who is ready to give his armour to Indra, has to face two different situations.

1 If he will not give his armour then he will lose his name as Karna- a giver. (Identity of giver) 

2 If he will give then he will loses his life. 

Here he chooses to give his name was larger than life for him. So he decided to give. 

The question is who will emerge as a winner in the game of asking and giving. If Indra wins he can defame Karna by circulating that he has not fulfilled his words of fulfilling desire of a beggar and if Karna wins he will immortalize himself in the anal of mythology by taking the title of the selfless giver. But in both the cases Indra wins more. If he loses he will defame Karna and if he wins he will be able to save his sons life. In both the cases Karna lost as an insane person. If he gives his armour he will lose his life and if he doesn’t he will lose name and in any case where he was not at win-win situation. 

“Without his earrings Karna is a hero who is “without himself” that is dead or soon to be dead- the earrings being an emblem for his identity or life.”44 

Relevance

In contemporary society also life puts forth challenges in which if we accept we lose, if we deny or refuse we also lose. These challenges occur constantly in present contemporary society where people refuse to move on and take negative or criminal actions as for example, killing, murder, or suicide. Most of the people in contemporary society accept the situation but cannot live in society peacefully and move towards to find out the God and become saints, priests, and nuns. They see themselves as it would be better for them to move away from the society. 

Dr Swati Joshi

Gujarat 

Karna as a giver

 Karna as a giver

Dr Swati Joshi

Gujarat 

 Karna is seen as giver and he creates his image by giving armour to Indra. The reason behind his giving is his willingness to get attention in the society. He wanted his place in the society. Karna needs the attention love, care, respect and position in the family as well as in the society. To prove that he also deserves the fame in the history he sacrifices his Kavach and Kundala. Karna was under the psychological pressure of impressing his identity on the society in general and by giving his (toe to head) his Kavach and Kundala to Indra in particular. Karna was also in the same category where he did not want to think that if he will give his Kavach and Kundala what will be the result. He was just thinking about himself that I want to give these things because I want a place in the history. What will be the result of my giving, what message will be given by me? He never thought about it and took the tag of “Karna- the giver”. Karna must ask question to Angle that why he is in need of my Armour? To give anything to anyone without thinking is not the real meaning of giving or selfless giving. This is our responsibility to ask question why you want this and right to say ‘No”

“The driving force in Personality development is seen by client- centred theorists as the “Self actualization motive” which seeks to optimally develop capacities. As an infant grows the infants “Self Concept” begins to be formed. The development of the self concept is highly dependent on the individual perceptions of his or her experience.”43

Relevance

 In contemporary society we have many people who are using mask on their faces and by using the mask they want to hide their limitations and weakness. These people are in the category of people who will never say single word and they are not on any side. They are not able to decide what is right and wrong. This kind of people is creating poor and weak society. In contemporary society we have many people who are in the same category. They are not able to take their own decision because they feel decision taking activity is a risk and they avoid the risk of taking. But the fact is that these people we have seen make a weak society by just obeying someone. These people are dangerous for themselves as well as for others.

 Another important characteristic of Karna is that he was not able to say ‘No’ to anyone. This shows his mental weakness and he just wanted to be in the category of pleasure (a person who always wanted to make other happy). This is the kind of crossing the boundaries of Sanity. Psychologically if you are not saying no then you are mentally disturbed or stressed and the person’s foundation is shaking somewhere. They just want to make their place as too good to someone. These people just doing this to show off.

Dr Swati Joshi

Gujarat 

Relevance of Karna’s Task in the Contemporary Context

 Relevance of Karna’s Task in the Contemporary Context

Dr Swati Joshi

Gujarat 

Karna’s Task is a completely based on the character of Karna. Here we see Karna as the individual character that is having his own problems, situations, name, fame, emotions, relations and most important a place in the society. The character of Karna shows relevance with the contemporary society. In modern time everybody face the same problem everyday but the means of problems changed. The description of battlefield, asking of Indra, the politics behind that, the advisory in form of Salya all are the internal part of contemporary time but it come to us in different form. Let’s discuss the character of Karna.

1 Karna

Bhasa’s Karnabharam has also it appeal and relevance in the contemporary context. Karna is the mythological hero who throughout his life suffers, faces injustice and dies for no fault of his own. Karna was the senior most Pandava but lived the life of a discarded and insulted human being. The contemporary times have many such people who find themselves in the same type of condition as is the condition of this mythological hero. The character of Karna can be seen on two bases as his weakness as a part of his personality and his strength and dedication. Karna’s personality is shaped by the childhood incident. He was an abandoned child and he never comes over this thinking of being abandoned by society, friends, family and everybody. This resulted in mental struggle and in search of his self identity. 

Relevance

Troubles hardships and insults which Karna has to undergo are the troubles of every ill legitimate child in the contemporary context. In other words Karna’s pain is the pain of thousands of illegitimate children who suffer for no fault of their own. The insults and setbacks which Karna come across during his life time on the ground of caste are highly relevant in the contemporary context. It’s relevance in the contemporary context is that every illegitimate has to become the victims of social injustice and torture and to run away from the torture the illegitimate children tries to hide their original identity to find out education, benefits and respectful place in the society  as Karna did.

“Karna lied about his lineage in order to study under another great teacher Parsuram.”39 

2 Karna’s Burden

The Burden of Karna is “to give or not to give” Everybody wants recognition in society so does Karna. He wanted to discard his inferiority complex to find the place in the society.  The inferiority was his burden and Karna wanted to come out of it because he was an abandoned child, discarded by his mother, his teacher and by society. This inferiority turns into anxiety.  

“The Neurotic Striving for Power however is born out of anxiety, hatred and feelings of inferiority.”40 

The name of the play itself present the burden of Karna and this burden is released by Karna when he gives his Kavach and Kundal. Kavach and Kundala symbolises his guilt and the feeling of discarded and insulted human being. The armour of Karna was just the means to come out from his emotions or to release emotions. 

Relevance 

The guilt, anger, love, care, cry, hate, acceptance, rejection, hope, expectations; these are the different emotions of humans. These emotions need outlet to maintain mental health, ways may vary. 

“The Neurotic striving for power, prestige and possession serve not only as a protection against anxiety but also as a channel through which repressed hostility can be discharged.”41 

The modern contemporary society is very complex and difficult to deal with. These days it is very difficult to release these emotions in the proper way or correct directions, if they are not released properly will lead to crime or extremist way.

“The Person’s perceptions of experiences are influenced by the “need for positive regarding”. (to be valued by others) The need for positive regard is seen as a universal need in every person. Out of the variety of experiences of frustration or satisfaction of the need for positive regard, the person develops a “sense of self regard” that is a learned sense of self that is based on the perception of the regard he has received from others.” 42

  Many people are desperate, in frustration, in anger but they are releasing these emotions on family members.  Karna has done the same work to come out from the guilt he chooses his death. This is again releasing of one emotion into weird way. This act can be considered as the extremist act. 

Dr Swati Joshi

Gujarat 

Plot Construction of Karna’s Task (Karnabharam)

 Plot Construction of Karna’s Task (Karnabharam)

Dr Swati Joshi

Gujarat 

 The play begins with the stage manager who after the prayer comes across some disturbing noise. A soldier from the Kuru Sena is there to describe the present scenario of the present time which symbolize a war condition. Karna is ready with his entire weapon and wearing the war dress code and want to move towards the battlefield. Salya was there as the driver of his chariot. Karna was in the ominous disposition and in that mental state he asked Salya to drive him towards Arjuna. But Karna was having feeling of brother hood for the Pandavas because the truth is that ultimately they are his younger brothers.

“In days gone by I was born of Kunti though now I am known as the son of charioteer. So Yudhishthira and the other Pandavas are my younger brothers.”32

 To come out from the feelings and emotions Karna talks to Salya about his learning of different weapons. Karna discusses about Jamadagni where he went to lean all the weapons skills. Then Jamadagni said I teach only to Brahmin people. Then Krana lied by saying that-

“I did not belong to the warrior class and began to receive instruction in the art of weapons.”33

 He further discusses that one day he was with his teacher to bring some fruits and other materials and his teacher was tired and he decided to take rest. His teacher slept in the lap of Karna for sometime but unfortunately one insect named steely teeth came and went into my thighs. He was afraid that it may cause disturbance to my teacher. He was beaten by the insect and bleed also. After seeing the bleeding Karna’s majesty became very angry by knowing that Karna lied to him regarding his caste. In fiery anger he cursed Karna that –

“Useless be thy weapons in the time of need.”34

 After this incident Karna was broken from insight. Karna was always discarded and insulted. Karna was struggling mentally but then also decided to be the part of the battlefield. This show the strength of the character of Karna where he was able to struggle till the end of his life, because it is easy to fight with other, but to fight with own family members or loved one is very difficult.

“Still Karna is ready to face the war because he says the efforts of the warrior fighting a war on the battle field never get waste or remain unrewarded. If he wins he gets fame; if he dies he gets heaven.”35

 He recalled memories to come out from his grief of past. Karna comes back to present time and asks Salya to move forward. Salya also touched with the story of Karna. On the other hand Indra was thinking that before meeting Karna that He will go in form of Angle and then he has to bless him. But Indra cannot bless with the words like- “Live Long life” and if Indra will not say anything than it would be easy to recognize him. Then Indra found the middle path by saying that-

“O Karna, eternal as the sun, the moon, the Himalayas and the ocean be your fame.”36

 When Salya was driving the chariot ahead suddenly the Angel (Indra) came there and stopped them. The Angel asked Karna to give a big boon whatever the Angel will ask Karna has to give. Karna tried to offer the Angel horses, elephants, the earth, the benefit of Agnistoma and every materialistic thing. But the Angel refused to take it. But somewhere Salya was able to identify the Angel and his intentions. But Karna was not ready to listen to Salya. Karna has decided to give whatever the Angel will ask he will give.

“Salya seeing through the deceit of Indra sounds a note of warning but Karna after stating that the sacrificial merits and gifts alone are permanent in this transient world satisfies the Brahaman who is really Indra in disguise.”37

 Indra in form of angle asked Karna to give his armor (Kavach and Kundala) to him. Karna was under the dilemma “to give or not to give” and finally he decides to give. But when Angle was going to take the armor there is a sense of guilt in him. So the Angle sends the weapon named Vimala to Karna. Vimala the weapon has Shakti which Karna can use in the battle field to kill one of the Pandavas. But Karna refused to take this by saying that he would not accept the return for the gift. Then Angle says you have to keep it because it is given by Brahman. Then Karna accepts it saying that he cannot disregard Brahman. Karna asked when and how he will get this weapon. The reply was when you will think about the weapon in your mind you will get it. After this incident Salya and Karna both are in different mental status. But both make up their minds and Karna asks Salya to move forward and take him to Arjuna. The play ends with the statement that-

“This is the sound of a conch like the roar of the ocean at the end of the world. Can it be Krishna? No, it is Arjuna’s. With his heart enraged by Yudhishthira’s defeat, he will fight to-day with all his strength. Salya drive my car where Arjun may be.”38

Dr Swati Joshi

Gujarat 

Karnabharam ( Karna’s Task)

 Karnabharam ( Karna’s Task)

Dr Swati Joshi 

Karna’s Task is considered as tragic narratives in one act play. It can be said that the play is protagonist centric deals with the tragic flaw of Karna and sometime known as ‘The Tragedy of Karna.’ The Play represents the mental and emotional struggle of Karna. From the very beginning to the end the character of Karna is shown as in the Psychological character. Karna and Indra can be considered as the central character on which the plot revolves. The Play begins with the as usual entry of stage manager. This is the same common pattern of Bhasa to begin his play. The Stage Manager pray to God and after that he wanted to announce something and suddenly he heard some noise. 

“May the Fortune bring you good fortune – he that smites the hosts hostile to the gods. The sight of him in his lion from sacred the world and underworld, with all the multitudes of men and women, gods and fiends. “Twas he that burst the breast of the demon king with the axe edge of his nails.”30 

The stage manager is the part of prologue of the play. There are other characters like Soldier, (on the side of Kuru) Karna, Salya, Indra and Angel. Comparative to other plays of Bhasa this play has very less characters but they are very important and interwoven. Salya is the driver of the chariot of Karna who constantly communicates and directs Karna regarding the intentions and activity of Indra. Indra is another important character and it can be declared that without him the play would have failed in developing of Karna’s character.  Another character is Angel but it is Indra only in form of Angel. After the entry of the stage manager the soldier comes to us and shows the circumstance of war and in the very beginning of the play we come across with the Bhasa’s common description of plays of War. These elements somewhere gives the proof of the authenticity of the plays of Bhasa. There is description of Sun whose comparison is done with Karna. Bhasa has used the elements of nature like sun, Agni, earth  and also dealt with different emotions like black misery, art of war, learning wish, cheating, hope, the dilemma of “to be or not to be” curse etc all are the words used by Bhasa in this Play. In this it can be said that Karna’s Task is a beautiful play by Bhasa that represents Karna’s mental status and his struggle when he was in the state of war. The name of the play itself suggests that Karna is having burden (bharam) on him. But here the question is what kind of burden Karna is facing or struggling with in.  Let’s discuss it. 

“During the interval time that elapsed between the verbal gift of the Kundalas and their actual delivery, those Kundalas were felt as if a burden (bhara) to his ears (Karna) by Karna.”31 

Dr. Swati Joshi

Gujarat 

Urubhangam (The Broken Thighs)

 Urubhangam  (The Broken  Thighs)

Dr. Swati Joshi

Gujarat 

The Broken Thighs is a pathetic, painful and critical description of the single combat between Duryodhana and Bhima which is presented in one act play. The play presents not only the combat of these two but the horrible emotional, psychological and social impact on the every character of this play. Duryodhana and Bhima can be considered as the chief characters of the play but the other characters are also like back bone to the chief characters. The other characters are Stage manager who begins the play with the beautiful description of the requesting to Kesava for the victory on the enemy by giving the example of Arjuna who got victory on his enemy. Then there is the entry of Assistant of the Manager who takes the responsibility to introduce other characters of the play and create excitement and eagerness of the audience to talk about new characters and the narrative moves further. These two characters play an important work on audience psychologically as well emotionally because Assistant talks about the war condition and bloody results. 

“The Sutradhara or stage manager appears and starts talk with an actress, who is supposed to be his wife, or with his assistant one of the actors, for the purpose of saying a few words in praise of the author of the piece, that is being staged in order to attract the attention of the audience towards the play and to prepare them for its presentation. The interlude always ends with an allusion to the characters that are appearing in the particular play.”2 

There are three soldiers in the play next who takes the responsibility to describe the battle, the blood, the sacrifices and the splendor of Great War with the description of lots of elephants, vultures, jackals etc. These three soldiers are there to provide an impression of severe war and the recent activity of the war. This description is completely different from the epic description.

“The Elephant as a ‘determinant’ placed beneath the anthropomorphic symbol of divine powers is common in Sanskrit Drama.”3 

The three soldiers show pity and fear on the death of the soldiers. They talked about clouds, mountains, sea, earth, sky and wind. In Sankrit Drama the clouds, mountain, sea, earth, sky and wind is a myth that symbolizes that they believe in God and they are in need of help from God. When people think that the situation is now out of control, they recall these Gods and believe that now divinity will take care of them. The same thing is happen in Urubhanagam where after getting the alarm situation in war these three soldiers are pleading them for mercy. 

“Most Hindu preferred to believe that God was above fate, that he programmed evil into his creation willingly or unwillingly.4 

Then the next character is Baladeva who is the witness of the injustice done by Bhima on Duryodhana. Baladeva knows that Bhima has done wrong thing but he cannot do anything to save him. The character of Balarama is presented as strong individual personality who sees this bad politics and ethics rules break activity and become angry on Bhima. The next chief character is Duryodhana who is presented as the hero of the play and having good quality. 

“One of the meanings of Duryodhana is ‘one who is difficult to conquer.”5 

He fights like a real soldier in the war with honesty and follows the rules of war and maintains his personal ethics also. He is presented as brave and respected soldiers in the play. Bhasa has used one another name for Duryodhana in his play as ‘Suyodhana’. Gandhari his mother is calling him as Suyodhana. 

“Suyodhana – usually known as Duryodhana (a derogatory term signifying one who does not know how to use weapons or power) is a name given to him by his detractors.6 

The question arises that why the word is related with Duryodhana.  The answer is related with Pandavas who did not want to call him by his name Suyodhana. They call him Duryodhana.

“Though named Suyodhana the Pandavas used the derogatory “Dur” to slander him as “One who does not know how to wield    power or arms.”7 

After Duryodhana Next character is very clearly represented by Bhasa is Bhimasen. Bhima is as good as Duryodhana in the mace fighting. There is no dialogue of Bhima in complete play. Bhasa has not given the opportunity to talk or express the feelings of Bhima. Even the name of the Bhima is not in the list of the characters in the beginning of the play. First soldier is talking about Bhima and Krishna when Krishna gives the indication to Bhima to beat Duryodhana on his thighs. 

“Bhima became an eyesore to Duryodhana as the latter was also a mace fighter and considered himself no less an expert in this art.” 8 

It shows that Bhasa was very clear in writing The Broken Thighs that he will give the quality of the hero to Duryodhana and for that he has not even gives space to Bhima for the interaction with the audience. A great ability of Bhasa can be seen here. Next character is Dhritrashtra, Gandhari, (Duryodhana’s father and mother) Malavi and Purvi they both are Duryodhanas’ queens.  Durjaya is Duryodhan’s son. He is the added character by Bhasa who is not in the original Epic. Durjaya is represented as very young son of his who wanted to sit on the thighs of his father. The next character is Asvatthama who is the son of the old preceptor Drona who at last takes the oath to kill all the members of the family of Pandavas. 

“Urubhangam is a tragedy, viewed from Aristotle’s point or that of Hegel. According to Aristotle, the proper subject for a tragedy is the spectacle of a man, an ordinary human being not absolutely good or wise, who is brought to disaster by some frailty in him; it evokes feelings of fear and compassion and thereby purges the soul.”9 

Plot Construction  of  The Broken Thighs (Urubhangam)

The meaning of the title of the play is smash (bhanga) and thighs means (uru). There is the description of club fight between Bhima and Duryodhana. The warriors come on the stage after the interlude finishes and provide detail evidence of the war field. The war field is completely full of elephants, jackals, vultures. There are lots of dead bodies in the war field and vultures are eating fresh flesh of the soldiers. After the description of dead soldier the play shifted to another place where there is duel combat between Bhima and Duryodhana. Vyasa, Vidura, Balarama and Krishana were there to witness the great and terrifying combat of mace. Both Bhima and Duryodhana are very strong in the mace fight. Behind the curtain there is terrible noise that gives idea of the struggle of Bhima and Duryodhana. The soldiers are giving their opinion that physically Bhima is stout but even Duryodhana is very skilled in the mace fight. But during the middle of the fight Bhima got a strong knock-back on his head and he fell down to the earth. After seeing that the follower of Pandavas become anxious. Then Duryodhana abuses Bhima and says that he is not going to kill Bhima. If Bhima is alive then this will be the mercy of Duryodhana. But there is one strong character in the play Balarama who believed in the disciple and ethical mace fight. He is the elder brother of Krishna. He is neither the side of the Pandavas not the Kauravas. He believes in honesty and moral ethics of war. But Lord Krishna knows very well that it is impossible for Bhima to defeat Duryodhana with the ethics of war. Krishna decided to take another different path and gives signal to Bhima to strike on the thighs of the Duryodhana with mace. Bhima is very sure that whatever instruction is given by Krishna is for the betterment of the Pandavas. Then Bhima without thinking of single minute strikes on the thighs with mace. This act was completely against the rule of the club fight. Duryodhanas thighs are broken completely and bleeding can be seen on the ground. After this incident Vyasa decided to go to the heaven but Balaram became angry on Bhima and Krishna. He shows his anger on Bhima because Bhima has broken the rules of war and done this act. This is unjust done to Duryodhana by Bhima. Vyasa has given the advice to take away Bhima from this place for the betterment of the Pandavas. 

In next scene there is the description of the shouting of the Balrama who is ready to kill Bhima because of his misdeed and he asked Duryodhana to wait for the sometime. But here Duryodhana stopped Balarama not to punish Bhima and let him go. Now Duryodhana is ready to go to heaven. 

“Nay, say not so. Bhima has fulfilled his vow, my hundred brothers have gone to heaven myself have come to such a pass Balarama. What can do war now?”10 

But Balarama is not ready to forgive Bhima and declare that he will kill all the Pandavas. Balarama is talking about the trick and injustice done to him. But Duryodhana stopped him and takes the initiative for saneness acceptance. After this soon the family of Duryodhana came as his father Dhrtrastra, his mother Gandhari and his two wives Malavi and Pauravi. Along with them the son of Duryodhana, Durjaya was in the battle field. They all are searching for Duryodhana. Duryodhana feels severe pain to see his family members. Duryodhana felt emotional and psychological pain in spite of his physical pain. 

“The sight of his queens crying aloud, walking on foot and bare headed without their usual veils, strikes a serious blow to Duryodhana.”11 

This pain is not enough for Duryodhana. Fate has played very serious game with him. He consoles his father Dhrtrastra and his mother Gandharai. He tries to console his queens also. But Duryodhana become more conscious and helpless when his son asked him to sit on his thighs. His Son asked him where you are going father. These questions made him cry and he became senseless for some time. He cannot bare the pain of his son’s wish. 

To give last greeting to his father Duryodhana tries to get up from the ground but he cannot get triumph and decreases down again on the ground. The emotional act between Duryodhana and Durjaya is the most tragic incident in the play. The discussion between father and son is heart tearing and poignant activity.  Dhrtrashtra remembers the death of the hundred sons at the time of the death of Duryodhana. But Duryodhana console his mother by saying that you should be proud of me that –

“Her son died in the war without showing his back and that he is dying in the same dignity in which he was born.”12 

He consoles his queens also by saying that you should not be lament on my death I am taking the death as the hero of the war. I have performed all the duties and rules of the war because of that I will go to the heaven. In the end Ashvathama comes on the stage with the loud voice. He takes the oath to kill the family of Pandavas. But Duryodhana tries to stop him by killing of the Pandavas and Krishna. Duryodhana requests him there is no use of killing because he has already lost his brothers and now he is also going to heaven. But Aswathama argues that now it is the question of his honor and he will kill the complete family of Pandavas. He also declares that after Duryodhana his son Durjaya will be the emperor of the kingdom. After hearing that Durjaya will be the king, Duryodhana feels content and remembers his dynasties. The end come with the death of Duryodhana and Aswathama take departure from there to kill the Pandavas and play finishes. 

 Relevance of The Broken Thighs in the Contemporary Context- 

It is believe that in modern contemporary society it is very difficult to understand people. They are not aware about their individual self. They have lots of problems to face during their lives. But they ignore the past or historical procedure from which our existing provision come into sight. In the same way Bhasa’s The Broken Thighs represents the past life, its vision and this vision will try to relate with the contemporary society. All wars are biggest relevance of all the plays of Bhasa based on the Mahabharata is that characters are changed but war is eternally going on in one or the other corner of the world. The war of Mahabharata was war of power and power of politics. War of Power and Power of Politics you find playing part in today’s world also with changed weapons, warriors and changed nature of war. But power politics plays its role the same way. Every individual and even the characters of Bhasa have to suffer due to war. The Broken Thighs has many characters like Duryodhana, Dhritarashtra, Gandhari, Malavi, Paurvi, Durjaya and Asvathama. Each and every character and their roles, actions, emotions say something which is directly or indirectly is related with today’s modern society and influenced by the condition of war. Let’s discuss the character of Duryodhana in context to war and see his relevance with the contemporary modern society. 

Dr. Swati Joshi

Gujarat 

Plays based on Epic

 Plays based on Epic

Dr Swati Joshi

Gujarat 

Indian Mythology represents culture, traditions, social norms, ethics, morality and all these came in form of Vedas and great Epics like the Mahabharata and the Ramayana. These are the sources till now that provided the world its significance and gave rationale to life. The Vedas give space to lessen Vedana –sufferings, the longing of the impatient individual spirit. The Mahabharata and the Ramayana is not only just an epic but it is a torch bearer for every person who wants to live his ideal life. The Mahabharata and the Ramayana even in modern time has great relevance to contemporary society. Bhasa has also taken the help of the Mahabharata and the Ramayana to write his plays in Sanskrit Language. Bhasa has written thirteen plays in the Sanskrit language. There are six plays which are based on the Mahabharata and two plays which are based on the Ramayana but Bhasa has done changes regarding the narratives and represented all the characters in different perspective. The six plays which are based on the Mahabharata are- 

1 DutaGhatotkacam (Potsherd As an Envoy)

2 Dutavakyam (The Embassy)

3 Karnabharam (Karna’s Task)

4 Madhyama-Vyayoga  (The Middle One)

5 Pancaratram (The Five Nights)

6 Urubhangam (The Broken Thighs) 

The two plays which are based on the Ramayana are- 

1 Abhisheka Natakam (The Consecration)

2 Pratima Natakam (The Statue Play)

As discussed above that Bhasa has taken the story from the Mahabharata and the Ramayana or can be assumed that re- reading of the legends of the Mahabharata and the Ramayana.  It was a great challenge accepted by Bhasa to write about the different characters of the Mahabharata from different opinion because audience will always tries to relate the main characters of Bhasas’ plays with the character of the Mahabharata, e.g Duryodhana, Karna, and Ghatotkach and characters of the Ramayana as Rama, Sita and Lakshman. Bhasa represented most of the characters not only in different perspective but also tried to fix in the same theme of the Mahabharata and the Ramayana. The theme and the name of the characters, their responsibility and even their acts and narratives, events and circumstances are completely based on the Mahabharata and the Ramayana. Bhasa has used popular stories as the plot of his dramas and represented in such a way that it works in form of dialogues. Bhasa used exceedingly inventive method that made the audience to go back to the readings of original resources without delay and the reading will give clear and innovative perspective towards the plays of Bhasa. The Plays of Bhasa can be seen as the unconventional or another different tone or attitude may be incorporated into the original or traditional narratives like the Mahabharata, the Ramayana, and in folk lore also. Another chief aspect of the plays of Bhasa is the characters, events and narrative component that stretch out at the outside edge of the manuscripts have a tendency to shift in the direction of  main point  or the crucial peak of the story. This mentality ruins the conformist hierarchies that give firmness to the original narrative. In the original plays the characters are represented as the rejected, disgraced and disrespected and struggling way. These characters are represented in the category of villain and they are not counted as the central characters of the narratives. They brought back to the position of the central characters by Bhasa in his Sanskrit Plays with an alternative perception. This different and alternative view point has given birth to new character as the main hero of his plays having good qualities and innocent personality. Bhasa became success to represent his characters with the heroic qualities; with innocent and virtuous personality because Bhasa used only one event or incident as separate event as there is no direct relation of this event to the original one. 

 “Turning to the Mahabharata plays first; we find in general that the poet is much indebted to the epic. In the once- act plays, some short episode is taken from the Mahabharata and freely dramatized.”1

Bhasa is considered as the realistic author who represents and relate his characters (men/women) with the contemporary world scenario. The characters of Bhasa are not wearing the mask of the fairyland. The special quality of the characters of the Bhasa is that they are not represented as superhuman, with imaginative peculiar qualities. As a result of this the audience and the reader of his plays accept his characters on the basis of realities and psychological perspective and accept their conditions, ups and down and also give sympathy to them. Almost every play of Bhasa has these characteristics. It would to fair to discuss his plays separately and individually to find out an alternate view point of Bhasa. I will discuss here three plays of Bhasa which is based on the Indian Epic the Mahabharata. 

1 The Broken Thighs

2 Karna’s Burden

3 The Middle one. 

Dr Swati Joshi

Gujarat 

Folklore Dr Swati Joshi Gujarat

 Folklore 

Dr Swati Joshi

Gujarat 

“Folklore, since the mid- nineteenth century, has been the collective name applied to sayings, verbal compositions, and social rituals that have handed down solely, or at least primarily, by word of mouth and example rather than in written form. Folklore developed, and continues even now, in communities where few if any people can read or write. It also continues to flourish among literate populations, in the form of oral jokes, stories and varieties of world play…….Folklore includes legends, superstitions, songs, tales, proverbs, riddles, spells, and nursery rhymes; pseudoscientific lore about the weather, plants and animals; customary activities at births, marriages, and deaths; and traditional dances and forms of drama performed on holidays or at communal gatherings.”56 

Folklore can be divided into three parts. 

1 Folk drama

2 Folk songs

3 Folktales

Dr Swati Joshi

Gujarat 

Two types of Epics

 

Dr. swati Joshi

Gujarat 

There are two types of Epics. 

1 Primary (Traditional) Epics

2 Secondary Epics

Traditional Epics are also known as Folk Epics. It talked about the culture directly in the form of oral and performance. This type of Epic is considered as ancient epic. The Epics which belongs to this category are- Gilgamesh- Sumerian Epic, Iliad and Odyssey in Greek culture, Shah Namesh, Bahman Nameh, Borzu Nameh, of Persia and the Ramayana and the Mahabharata of India. Primary or Literary Epic are written in regular and skillful technique but also influenced by traditional view point. For Example- Aneid of Virgil based on Illiad and Odyssey and the Biblical incident can be seen on Paradise Lost. 

Along with Traditional and secondary types of Epic the other third category can be seen which is based on its subject.  The categories are - Epics based on Mythologies, and Epics based on the life of the hero who deals with his heroic incidents and considered death as better option in comparison with embarrassment and humiliation.  For example- Rustam in Shah Nameh etc. The Religious Epic depicted hero as  man who is abide by religion and the plot and the theme based on Dharma only. For Example- The Ramayana, The Mahabharata, and celestial comedy of Dante. 

The Epic can be seen from its style, which is considered as majestic and having highest moral or spiritual value represented by using language and words.  Epic technique represents imagery,   enhancing its dignity and provide enormity to its theme.  In the Epic technique there is a comparison between heroes and animals/ Gods. They are sometime compared with lions, fishes, dragons, snakes etc. 

Epic technique or pattern is unique because of its uses of Exaggeration; not only dealing with imagery or symbols but also represents the truth of nature and universe. The Epic technique also deals with supernatural elements of heroes, villains, and Gods. This is most important technique of Epics. There is another good use of allegory in most of the Epics of the world. The characteristic of Epic is again significance to differentiate with the other genres. Epic is always describes combat, gallantry, voyage, obstacles, fights, encounters etc. The Epic cannot be called as an Epic without the description of animals and supernatural creatures.  For example- the horse (Xanthos) of Achilles who has the power to speak and can see the future even the death of Achilles. Rustom’s horse Raxsh, even Adam and Eve is having description of Snake and peacock. Ramayana describes the importance of animal as monkeys in form of Hanuman and his army, golden deer, horses, Jamvantji, -the big bird, seven headed dragon etc. It is believed that the heroes are in the form of Supernatural creatures in Epic. The quality of supernatural creature makes the Epic hero different and unique from the common hero of novel or any short story or poem. In Epic supernatural creature means having the quality of God like supremacy and heavenly attribute as the quality of sun, fire, water, having one part of human and another part of body is divine. For Example- Jesus is considered as the son of God, Rama is considered as God having the ability to spread spiritual and religious (Dharma) on the earth.  Another feature of Epic is its magical effect and the magic is in many forms. The magical effect can shape in form of saints, sages, dragons, Gods, death, life, birds and many more. Sometime magical effects work in symbolic meaning, not in literal or direct way. One can easily noticed direct or hidden aspect of magical effects in Epic. 

The chief characteristic of Epic is based on the war between two equally strong heroes but the twist comes when one hero is supported by God against another one. Then the war is converted into a war between hero who is having support of God (for Dharma) and another hero who has the support of evil (for destroying the Dharma) on the earth. Epic cannot be imagined without God and religion (Dharma). Epic work on Good and Evil and focuses on binary vision as for example- Sun- Moon, Black- White, Good- Bad and every Epic provide moral lesson and shows a path to humans “How to live life?”  

The hero of the Epic is considered as the nationalized or cultural hero because he is the only person who becomes the medium of any tradition to represents. For example- Milton’s Paradise Lost represent humanity through the medium of hero, Iliad did the same in form of Achilles, Rustom from Shah Namesh, Ram in Ramayana, Krishna and Arjun in Mahabharata. The heroes of Epic are more powerful in comparison to common man. They are courageous, independent, social, having various attitude and vision for the religion and society. Another chief characteristic of the Epic hero is his opponent and the enemy is also very powerful similar to the Epic hero. The Epic features are creating the events for war between hero and the enemy. For Example- Ram (hero) fights with Ravana (enemy) and the reason is kidnapping of Sita. 

The Epic is also about the long journey and travelling of the hero. For example- Rustom and Esfandiar, Odysseus, Ram, Pandavas etc. The Epic fights or war is literally between hero and the enemy but symbolically the war is between nations, cultures, traditions, good and evil, right and wrong, Dharma and Adharma, Theist and Atheistic, and the war has universal and unique appeal. The war represented different types of weapons used by heroes and the enemy. This type of description can be seen in Epic only. These weapons are having special and supernatural powers given be God at the time of the birth of the hero or another important character of the Epic. For Example- Indian Epic represents weapons like Bramastra – the weapon of Bhisma in Mahabharata,   Pashu – the weapon of God Parshuram, etc. Epic depicted politics as the main weapon in war. The death is the universal theme of Epic. The essential aspect of Epic is also revolving around curse and forecast which gives shapes to theme and plot.  Epic represents death of hero sometime death of evil and that turn Epic into Tragic Epic. But Indian Epics are not having any tragic end. 

  There are many Epics in the world which can be categorized as from the date of coming into existence. The Epics can be divided into three categories. 

1 Ancient Epics/ Earliest Epic (500 A.D)

2 Medieval Epics (from 500 to 1500 A.D)

3 Epics after 1500 A.D 

It is believed that Gilgamesh (around and approximated 3000 B.C) – Sumerian Epic is considered as the earliest Epic work in the category of Ancient Epic. After it Iliad and Odyssey (around 1000 B.C) by Homer is considered ancient Epic. But in Greek mythology it is believed that Theogony (700 B.C) is the earliest Epic in comparison with Iliad and Odyssey. The reason is that in Theogony there is the description about universe in Chaos and believed that everything comes from it. Indian Epic Mahabharata and Ramayana are also considered as Ancient Epic. It is believed that Ramayana was written by Valmiki   around 4 the century B.C and Mahabharata was written by Vyasa around 5th century B.C. Next is Aeneid - Latin great Epic Poem written by Virgil around 1st century described the Trojan War. During that period there were many works like Metamorphosees by Ovid- Latin Mythology, in Roman Mythology Pharsalia by Lucan. Virgil considered Ovid’s work as Epic on the basis of its method and tenor but it is rejected as an Epic because of the lack of vital hero. Lucan’s Pharsalia is about the battle between Caesar and Pompey. It is believed that it is an incomplete work. But it is renowned as the greatest epic poem in the world of Latin Literature. During the 2nd century in Indian Mythology there were many epic poems written as- Buddhacarita and Saundaranandakavya written by Asvaghosa. Buddhacarita is about the life of Goutama Buddha. There are 28 cantos written in Sanskrit but the first 14 are complete and the rest are incomplete. Saundaranandakavya is about the transformation of Nanda who is the brother of Buddha. Asvaghosa used the Kavya method for the description of preaching of Buddha. The Kavya method talked about the deliverance to attain the serenity. Indian Literature is very vast not limited with Sanskrit, Pali or Hindi Literature. Even in Tamil Literature there are many Epics during the 2nd and 5th centuries. 

The Epics are- 

1 Jaina Poet written Valayapati 

2 Tirutakakatevar written Civaka Cintamani 

3 Manimekalai written by Seethalai Saathanar 

4 Ilango Adigal written Silappadikaram 

5 Kundalakesi 

The third and fourth century witness the great epics like Posthomeric by Quintus Smyrnaeus, Greek Epic Poet. He has written about the Trojan War a continuous process after Homer. In fourth century Evangeliorum  libri is written by Juvencus, (Latin Poem) and Kumarasambhava and Raghuvamsa were  written by Kalidas. There two Epic poems of Kalidas is consider as the finest example of the use of Kavya method. During the 4th century De Raptu Proserpinae is again incomplete poem by Claudian – Roman Poet.  These are the Epics in form of Poetry and in the category of Ancient Epic. But some of the works only are considered as great and accepted Epics of that time. 

Medieval Epic period can be considered from 500 to 1500. It is believed that during this period most of the Epics cover the heroic poetry. 7th century witnessed the great Sanskrit epic Bhattikavya, and Astadhyayi based on Ramayana. It is considered as one of the Mahakavya in Sanskrit Literature. Another chief epic work of medieval Epic is Beowulf, considered as oral epic but there is not information about its author. Next is Bhagavata Purana another name is Bhagavata Geeta, is one of the main epic of Indian Mythology which is related with Mahabharata. Around tenth century Shah Nameh – Persian Epic emerged as medieval epic of that period. Along with Shah Nameh, Waltharius –Latin work written by Ekkehard St.Gall during the same period. There are six epic can be considered during the 11th century as – Arabic Literature Taghribat Bani Hilal, Greek Literature- Digenis Akritas, French work- The Song of Roland, The work of Tibet – Epic of King Gesar, The Epic of Manas from Kyrgyz.  12th century witnessed the great epics like – Shota Rustaveli, Georgian Poet has written - The Knight in the Panther Skin, Latin Epic – Alexandreis by Walter Chatillon, etc. Antar from Arabic Literature and Nibelunggenlied in the form of translation as The Song of the Niberlungs , De triumphis ecclesiae written by Johannes de Garlandia – a Latin Epic, Wolfram von Eschenbach  has written Parzival – a German Romance are the products of 13th century. The 14th century deals with the heroic poetic work of Dante who has written Divina Commedia – Italian literature which means The Divine Comedy, Petrarch has written Africa, The Epic of Japan is The Tale of the Heike. Matteo Maria Boiardo – the Italian poet has written Orlando Innamorato is the gift of 15th century epic literature. 

The Modern Epic Poetry can be called Renaissance Epic Poetry and considered as the uppermost structure of literature.  It is believed that during the period Epic Poetry has taken the shape of novel or a prose. Mikhail Bhaktin tried to explain the relation and balance between Epic and novel and also talked about how Epic can be seen as in form of Novel in his essay “Epic and Novel: Towards a Methodology for the study of Novel.”  He believed that novel is having all the quality as Epic is having. Even Novel can easily express the contemporary reality, and can adopt the change, but the problem is that we do not have common set standard forms for novel as in form of Epic or Poetry.  

The fact is that as we know Epic is the earliest and oldest genre of the world and having its unique structure, technique, narration, theme, plot, characters, form, content and characters.  It is assumed that all the unique features of Epic are in finished and final quality, and thus there is no scope of re-evaluation, changes and re- thinking. But Bakhtim discussed about Novel that Novel is like a clay pot that can be molded or even remolded according to the circumstantial fact, truth and necessity of present time. In contemporary world Epic is broaden to accept another forms as novels, plays, even movies in which the hero is in the centre position. Epic always keep hero as its centre one but in modern world it can be expected that heroines can be seen in the central position. 

“Even if we know very little about literature we know that the Iliad, the Odyssey, the Aeneid, the Divine comedy and Paradise Lost are epic poems, and once this is established we can make other definitions. The Rape of the Lock is a mock epic poem. War and Peace and Ulysses are novels with an epic quality, the Book of Job and Gilgamesh are near epics. It is fairly easy to reject other candidates as unworthy of being called epics; an epic is not just a long poem dealing with a philosophical subject like the Prelude or a long poem dealing with adventure and chivalry like Idylls of the king.”54 

Modern Epic is not only remains with its nation or culture but become the part of world. The features of Indian Epic can be seen in Greek Epic or in Japanese Epic. Epic means “Universally accepted work.”  It can be said that notable transformation of Epic can be seen age to age and these transformations in Epic categories it from ancient to modern Epics.  Scientific Films can be the part of modern Epic. For example- A Space Odyssey (1968) and Star Wars (1977), Disney movie like Hercules, Aladdin, Tarzan, The Lion King, The Jungle Book. 16th century symbolizes modern Epic in form of   Orlando Furioso by Aristo, La Araucana by Alonso de Ercilla Zuniga, Ramcharitmanans, by Goswami Tulsidas, Faerie Queen by Edmund Spenser etc. The 17th century modern Epics are- The Purple Island by Phineas Fletcher, Davideis by Cowley Abraham, Paradise Lost and Paradise Regained by John Milton, Price Arthur by Richard Blackmore etc. The 18th century works are- Eliza by Richard Blackmore, Leonidas by Richard Glover, Rossiada by Mikhail Matveyevich Kheraskov, Vladimir by Mikhil Matveyevich Kheraskov etc.19th century modern Epic can be seen in the form of Milton: a poem by William Blake, The Lady of the Lake by Walter Scott, Don Juan by Lord Byron, Prometheus Bound by Elizabeth Barrett Browning, The Prelude by William Wordsworth, The City of Dreadful Night by James Thomson, Idylls of the king by Alfred Lord, etc. 20th century represents  modern epic as The Ballad of the White Horse by G.K.Chesterton, Kurukshetra,(1946) Rashmirathi,(1952) Uravashi, (1961) Ramdhari sing ‘Dinkar’ has written Hunkar – Epic poem , Frederick Turner has written Genesis: An Epic Poem etc. 

It can be said that nineteen and twenty century brought some queries and necessity to differentiate truthful Epic and something like the genre of Folk Epic. Previously it was considered that because of the Folk lore Epics came into being.  Another vision is that Epics were in oral form and the oral form is the part of Folk.  To give peculiarity to epic and folk a prefix is given to Epic as “Oral Epic” a kind of limit and difference and then modern description for the term folklore added the word Traditional to Oral Epic Poetry. Finally, a new word came in twentieth century –“Oral Traditional Epic Poetry.”  It differentiates Epic which is in the written form and Folk which is oral form. 

“The comparison between an epic, which has developed to us in manuscript and a folklore which has never been collected and must therefore only be hypothecated is predicated on several assumptions.”55 

Dr. Swati Joshi

Gujarat 

Various definitions of Epic-

 Dr.  Swati Joshi

Gujarat 

Various definitions of Epic-

“An epic is long narrative poem in elevated style, about the exploits of superhuman heroes. Traditional epics are also called ‘primary epics’ are part of oral tradition of a nation and involve myths and legends of nationhood.”48 

“In its strict sense the term Epic or Heroic Poem is applied to a work that meets at least the following criteria: it is a long verse narrative on a serious subject, told in a formal and elevated style, and centered on a heroic or quasidivine figure on whose actions depends the fate of a tribe, a nation, or the human race. There is a standard distinction between traditional and literal epics. ‘Traditional Epics’ (folk lore or primary epics) were written versions of what had originally been oral poems about a tribal or national hero during a warlike age…..  Literary Epics were composed by individual poetic crafts men in deliberate imitation of the traditional form.”49 

“Epic, a  long narrative poem celebrating the great deeds of one or more legendary heroes, in a grand ceremonious style. The hero, usually protected by or even descended from gods, performs superhuman exploits in the battle or in marvelous voyage, often saving or founding a nation as in Virgil’s Aeneid (30-20 BCE) or the human race itself in Milton’s Paradise Lost.”50 

Aristotle discussed Epic in his Poetics – 

“Epic poetry resembles tragedy in so far as it is an imitation in verse of what is morally worthy: they differ in that the epic has only one meter and is narrative in form. They also differ in length, for tragedy tries to confine itself, as much as possible, within one revolution of the sun or a little more, whereas the time of an epic is unlimited.”51 

“A long narrative poem, on a grand scale, about the deeds if warrior or heroes incorporating myth legends folk tale and history. Epics are often of national significance in the sense that they embody the history and aspirations of a nation in a lofty or grandiose manner.”52 

Every Epic of every nation represents its culture, traditions, belief, history and rules and regulation of Nation.  It was considered that Epic is always in form of poetry, but modern time considered that Epic can be seen in poetry, prose, dramatic presentation, and even in films. Epic deals with social, religious values, and laws, customs of a society.  Epic can be seen or judge from its setting, plot, theme, style, incidents, hero and supernatural elements.  The other technical aspects are  unity of action, promptness, the beginning of the epic, middle and the end of  the epic, the apply and impact of supernatural elements, predictions, the appellation which is recurring, and the moral message as truth, Dharma, virtue and vice, poetic justice, symbols and myth, love, death, hate, power and politics. 

“As we try to define a term like epic we must keep in mind that the study of literature is not a science that while a good deal of literary study requires close reading and logical analysis, intuition and feeling also play major roles. One person’s epic is another person’s romance.53 

Dr. swati Joshi

Gujarat 

Epic

 Dr. Swati Joshi

Gujarat 

Epic- 

Epic is believed as one of the ancient structure of legendary venture. The process of listening and narrating something cannot be seen in the form of Epics.  Most of the Epics deal with description of heroism with cultural and traditional touch and familiarity of society. Epics deal with its myth and legends.  One can noticed the spoken narration during the time of religious rituals and social but all the narratives cannot be considered as an Epic. The condition to be considered narrative as gathering an epic is the raise technique and articulation of that narrative.  Epics broadcast at various different places, from one era to another era; circumstantially changes build up into its structural effort, the traditions, cultural aspect, ethnicity, and principles of the people. It can be said that there is such established pattern, once we follow and when it moves to others people do some changes according to their necessity. Every culture has its own epic in the form of the celebration of the heroism and on the name of culture. It can be noticed that there are similarities of epics of different cultures as the characteristics of heroes or the others characters of the epics. The main characteristic of epic is its hero who undergoes many incidents in his pursue.  

The word Epic is resulting from the Greek word ἐℼᶩḱὁζ   (epikos’pi) which means “word, story, poem’.  We heard about Epic and then the imagination of our brain try to relate Epic with narration in poetry, and the immense deeds of heroes and the involvement of divine energy in human life.  But there are less people who think about language, narrations, incidents, and thrill as part of Epic and which makes Epic different and unique from other common genres. 

Dr. Swati Joshi

Gujarat 

वो दूसरों के मामलात में चुप्पी साध लेते हैं

 वो दूसरों के मामलात में चुप्पी साध लेते हैं 

जो पहले अपने ही गिरेबान में झांक लेते हैं।

आग से खेलने का अंजाम बखूबी जानते हैं

सुरक्षित अंतर के साथ हम आंच सेंक लेते हैं।

ऐसे दिलबर जो सिक्कों पर दिल फेंक देते हैं

हम बड़े ही सलीके से उनसे मुंह मोड़ लेते हैं।

अब तो चेहरा दिल का सब हाल बता देता है

एक नज़र में ही हम उनका इरादा भांप लेते हैं।

मौसम की तब्दीलियां इशारा तो दे ही देती हैं

जो समझते हैं इन्हें वो बदलाव को आंक लेते हैं।

डॉ मनीष कुमार मिश्रा

कल्याण पश्चिम, महाराष्ट्र