Wednesday, 24 May 2023

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

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

Dr Swati Joshi 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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



Relevance of The Vision of Vasavadatta in the Contemporary Context

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dr Swati Joshi
Gujarat 

डॉ मनीष कुमार मिश्रा की ग़ज़लों का लिंक

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

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

Tuesday, 23 May 2023

Svapna-Vasavadattam (The Vision of Vasavadatta)

 Svapna-Vasavadattam (The Vision of Vasavadatta)

Dr Swati Joshi

Gujarat 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dr Swati Joshi

Gujarat 

Monday, 22 May 2023

China, Poland and Maginot Line

 China, Poland and Maginot Line

Dr Manisha Patil 

Three merry gargoyles. Three merry harridans. Amused by a long-ago time of ignorance. They did not belong to those generations of prostitutes created in novels, with great and generous hearts, dedicated, because of the horror of circumstance, to ameliorating, the luckless life of men, taking money incidentally and humbly for their ‘understanding’. Nor were they from that sensitive breed of young girls, gone wrong at the hands of fate, forced to cultivate an outward brittleness in order to protect her springtime from further shock, but knowing full well that she was cut out for better things and could make the right man happy. Neither were they the sloppy, inadequate whores who unable to make a living at it alone turn to drug consumption and traffic or pimps to help complete their scheme of self-destruction avoiding suicide only to punish the memory of some absent father or to sustain the misery of some silent mother…Neither were they protective and solicitous of youthful innocence. They looked back on their own youth as a period of ignorance and regretted that they had not made more of it. They were not young girls in whores’ clothing or whores regretting their loss of innocence. They were whores in whores’ clothing, whore who had never been young and had no ward for innocence. (42-3)

Morrison names the three prostitutes as China, Poland and Maginot Line – these are the names of colonized lands before and during World War II. China was under Japanese control, Poland was subjugated by Nazi Germany while Maginot Line was the failed French border fortifications to resist German invasion. These names are significant because they refer to the violation of land and by extension of women by imperialist male powers. Imperialism glorifies history and culture of aggressive country and vilifies that of dominated land. Similarly, patriarchy advocates macho behavior in men and condemns the female victims of that behavior. Prostitution is the ultimate insult of the femininity by the patriarchy. Female body is reduced to the level of an object to be traded for money. By turning a blind eye to the economic conditions that foster prostitution, patriarchy further demonizes the prostitutes. The three whores in The Bluest Eye though physical victims of this unjust system are nonetheless mentally free of it. They know the reality and they have accepted it without any contempt or sentimentalization. They are not scared of ‘funkiness’ (like Geraldine) because they know its importance. Though dominant discourse depicts whores as a threat to domesticity, in reality they protect the institution of family by providing a safety valve to illegitimate male lust. In the novel, ironically, they provide better role model to Pecola than her mother Polly. They provide Pecola with the glimpses of blues and signifying which otherwise she has no chance of knowing. Cat Moses writes, ‘The three whores embody the blues singer’s assertion of sexuality, desirability, and ownership of their bodies…all three of the whores in The Bluest Eye laugh with their whole bodies, from the depths of being, constituting “true carnivalesque”...The whores’ laughter is the quintessential blues utterance: It wells up from within, with the force and rhythm of a freight train, and it erupts into pure catharsis. It is a public communication of emotions that are both private and shared… Poland’s “Blues in my bedroom / ‘Cause I’m sleeping by myself” may be read as a sensual and a political expression of collective need. Her “Mealbarrel Blues” conflates the language of sexual desire and the desire for freedom from poverty…Marie and China enact a tradition that blends call-and-response, an erotic blues sensuality, and tongue-in-cheek humor – signifying…Geneva Smitherman defines [signifying] as “the verbal art of insult in which a speaker humorously puts down, talks about, needles – that is, signifies on – the listener” (118)...Pecola hears Poland singing, and she listens to China signifying on Marie’s story, but she lacks the cultural knowledge necessary to understanding. She is exiled from the collective consciousness; it is as though she doesn’t speak the language of the blues, although she most certainly lives the blues.’18

However, the three whores are not able to exert any positive influence on Pecola’s life because they too are victims of dominant ideology’s myth of individualism and disinterestedness. Like all other people they view Pecola individually responsible for her life without considering racist and sexist undercurrents of the society. Again, like all other people they too are disinterested in Pecola’s welfare. As a result, they fail to see that Pecola is in danger and help her out. Jane Kuenz writes,

Though charming in their own way, China, Poland, and the Maginot Line are also condemned in The Bluest Eye for just this kind of refusal to take into account difference and history:

Except for Marie’s fabled love for Dewey Prince, these women hated men, all men, without shame, apology, or discrimination. They abused their visitors with scorn grown mechanical from use. Black men, white men, Puerto Ricans, Mexicans, Jews, Poles, whatever – all were inadequate and weak, all came under jaundiced eyes and were the recipients of their disinterested wrath.

…Any power moves they think they are making by indiscriminately hating all men are probably negated by the fact that they do not take into account differences in race and class, factors supremely affecting their position vis a vis men, especially in their profession. Their kindness to Pecola is similarly disinterested in that, by failing to see her and her situation clearly, the three, in the words of Michele Wallace, “fail to understand victimization or the fact that [she] is in danger” (65).(6)19

Dr Manisha Patil 

Relevance of The Minister’s Vow in the Contemporary Context

 Relevance of The Minister’s Vow in the Contemporary Context

Dr Swati Joshi

Gujarat 

 1 King Udayana is represented like a mythical hero having perfection of bravery, skills and elephant management and skills in playing lute which he taught to Vasavdatta also. Here the teacher student relationships is not like Arjuna and uttra where Arjuna did not marry Uttra telling her that she is his student and thus like a daughter while Udayana carries Vasavdatta with him and marries.

There is a mythical concept regarding the teacher and student relationship where teacher is respectful for his student. But even in contemporary context one can see the emotional attachment that converts into marriage. The example is of Udayana and Vasavadatta. Here the question arises that is Udayana a real teacher because he was also in a role of a king. But it does not mean that every teacher student relation is converted into marriage or emotional attachments. Another example is of Arjun who refuses to get married with Uttra and considered her as his daughter. Even in contemporary context we have still two situations which are represented by Arjuna and Udayana regarding the relationship of teacher and student.

 2 The story has very similar tricks employed by Greeks during the war of troy. They made an artificial horse having soldier on it so is the views of the king of Ujjain who got made a huge blue elephant having 100 soldiers in it and king Udayana left his army to hunt this wonderful elephant.

“The imagery of mythology and poetic fancies regarding animals is invoked and we are in the domain of lyric poetry. Such descriptive scenes are rare or short in Bhasa but a regular and much appreciated feature.”16

 The plot of the story is completely based on the trick of blue elephant which is turning and crucial point of the play. The attachment and love, lust, wish, passion, demand for blue elephant in contemporary context symbolizes “Maya” for humans. This mythical concept of Maya is related to the great epic the Mahabharata and the Ramayana where the war between Kauravas and Pandavasa was for this Maya only and even the Vanvas of Ram and Sita and the kidnapping of Sita by Ravan was also for the Maya. Here Maya symbolizes ‘a wish to gain something at any cost’. The Maya be in the form of love, hate, materialistic things, revenge, position and power, female and male body. The wish to find something leads human to the extremist condition where human loses his sanity and humanity and take the wrong path in shape of doing conspiracy, killing, rape, acid attack, etc. Every genre has its rules, regulations, ethics, and system, moral and different layers of level. Politics is also one genre or institute of society where to get the triumph at any coast by using conspiracy is highly relevant in the contemporary context. This relevance is not only related with politics for power and position but also even every individual is suffering at some extent with this ‘Maya Jal’ which is scientifically related to our mental health and its spontaneous reaction.

“One may seem to be the only reality and everything else Maya, a purposeless and inexplicable illusion.”17

 Second relevance with the contemporary context is Udayana who leaves everybody behind him without giving notification and left for his passion or skilled to deal with the blue elephant and then the political benefits come out.

“Human nature and political man oeuvres are shown realistically and human traits only amusingly pointed up through the interpretation of animal characters.”18

 To run behind the passion and avoidance of all the duties of yours towards family, relationships, and society are shown highly relevance with the contemporary context. Maya is a mysterious power for humans to understand. King Udayana was also kidnapped under the Maya of Elephant. Maya is an illusion that was not understood by Udayana and even not by the contemporary humans.

“The human being dwells in the realm of maya. Maya does not allow knowing God. This maya has made the human an ignorant.”19

 3 A dedicated man should complete his duties with efficiency. Though the success and failure depends on fate but the duties carried out with devotion may increase the change of success. In many of ancient myths we find the lesson of devoted duties going for ahead.

“A difficult task should be entrusted to devoted agents, or to a connoisseur of qualities held in esteem. Whose so ever be the plan by which efficiency is purchased, success or failure depends on the dictates of fate.20

 4 Yougandharayana as a precaution tries to forewarn his king to be aware of rues played by the king of Ujjain. Here again a myth of tricks comes where a person incapable of face to face war tries to win over his enemy by employing tricks. Yougandharayana having sense of such tricks sends Salaka to his king and tells him that Mahasena the king of Ujjain is very fearful and also a failure because his huge army lacks in unity of action. He compares his army with a wife without devotion. In Indian culture there are so many myths telling about in efficiency of wifely duties that can lead to destruction of the whole family. Here Yougandharayana is projecting as incapable king who will employ tricks to capture Udayana the king of Vasta.

“A huge force he clearly has, but lacking in unity of action, a number of brave warriors there in, but no devotion. So in the hour of battle he prefers to resort to a trick. For every army without devotion is no better than a wife that lacks the same.”21

 5 Yougandharayana fails in taking precautions like many mythical characters and thus endangers his king’s life. In modern context many a time people fail and carrying out their duties and thus risk their life, families, societies and nations. At this point of time Yougandharayana gets the news of Udayana’s imprisonment. He curses himself his planning and the destiny.

 During this dialogue with Hamsaka he tells that a man can be tricked even when he is awake with his eyes wide open but because the bad fate is lacking over. In the forest Udayana meets a person who informs him about the elephant called “Blue Lotus” which was actually a man made tool like a horse in Greek Mythology. The king gets attracted towards that extra ordinary elephant and goes to hunted. Mythical stories say that an extra ordinary attraction towards unknown and unfound like Sita’s attraction towards the golden deer can lead to a critical situation. Even in contemporary world such attraction proves to be fatal.

 Udayana does not pay attention to the wise council of his ministers and leaves for the forest with twenty soldiers. Mythically when advices are given one should think over it and thus Udayana risks his life and becomes a prisoner of Ujjain. Another example can be seen through the mythical character of Sita who also received advice not to cross the boundaries by Lakshman but Sita did not pay attention to words and leads to the prison so does Udayana. Even in the contemporary society we are not ready to listen to the advice or suggestion because we do not have passions to listen.

 Hamsaka relates the story of kings’ capture and he tells about Pradyota’s minister Salankayana who shows sympathy towards imprisoned king. Mythically there are many stories tell us that even a defeated king should be treated with kingly honor and respect. Yougandharayana considers an excellent person and praises Salankayana and says,

“Well done, Salankayana! Distress can change even an enemy into a friend.”22

 Even in contemporary world we teach and learn to treat others with honor and respect. This view point can be seen through the contemporary context as we do at the national or international level, we do not want to give respect to caste, religion, culture, traditions. It may be possible that we may have different opinions but honor and respect can change our perspective.

Yougandharayana considers the preparation of his precautions useless because his king was already imprisoned. Now he has the duty to inform the Queen mother about the incident and he gives the duty to tell the Queen mother to Portress Vijaya and tells her to be sympathetic and guard against a mother’s heart. He suggests her to start discourse on the evils of God, dangers of God and other events related to war like suspicious doubt and death and at last the fact about the king.

“First discourse on the evils of war, suggesting dangers. When the meaning is doubtful, death suspected and grief at its height then report the actual facts.”23

Udayana sends Hamsaka to se Yougandharayana can give two meanings.

1 He was confident in his minister and was sure that he will be able to take him back home.

2 He was not happy with his half preparation and information and wanted to remind him his failure.

 In contemporary context people are in dilemma that who is right and who is wrong and we are not ready to take the accountability that it has been done by me. We tried to blame other’s activity and create disparity in the society. This dilemma mythical concept can be seen in the Mahabharata where Arjun was in dilemma what to do and what not to do.

 Even Queen mother shows confidence in Yougandharayana to restore Udayana to her in the kingdom and like brave character Yougandharayana goes to restore to the king to kingdom. He compares enemy to Rahu who has taken the moon but the moon will be shown again so will his king.

 Portress represents as strong feminine character guard of the palace in Hindu Mythology. Even in Lanka the kingdom of Ravan also has been protected by female soldiers.

 It can be said that the act II of the play shows faith in the Institution of marriage. The king of Ujjain waits for suitable match for his daughter. So many princes from various countries are coming but the king was not sure about anything. He wants to see the king of Vatsa Udayana bold and defeated before him. Mahasena is not able to make up his mind to whom to offer his daughter’s hand. Mahasena was confused about his feelings for udayana. He was neither happy nor sad for his sorry plight. But at the end of the play Mahasena declared the celebration for the marriage of his daughter Vasavdatta and king Udayana- a marriage by the rules and regulation of the warrior caste. Mahasena somewhere in unconscious mind find the qualities to become son-in law and the husband of Vasavadatta in Udayana but because of his politically mind and because of his kingship the revenge feeling was heavy on him rather than the qualities of Udayana. This is highly relevant with the contemporary context where a father finds all the qualities in a boy to be suitable for his daughter but the caste, religion, status, tradition, cultures are creating boundaries for a father to take the decision.

 There is a Myth of the magical power of music that can even tame the heart of elephants or everyone. Udayana was having power to control the elephant by his music. Even in contemporary society also Music gives peace of mind, enjoyment, arouse the feeling of tragedy when one is sad, and enhance the happy moments. Music has healing and controlling power that even leads towards spirituality and also keeps connecting with the real world also.

 Planning is again a mythical concept is all about planning to restore Udayana to Kosambi and in this act they come to know about the first sight love of Udayana for Vasavadatta and Yougandharayana decided to take Vasavdatta as Shubhdra was taken by Arjun. Many a time we see people revamp their planning for their love. Even in contemporary context the aspect of planning can be seen from negative and positive perspective. Planning to build something is in the category of positive but planning for destroying something is in the negative aspect.

 In the last act Mahasena accepts the marriage between Udayana and Vasavadatta and thus they celebrated marriage having a painted picture of Vasavadatta and Udayana. The reason behind the celebration was that Mahasena the king wanted to surrender to Mahasena as a father for the happiness of his daughter and finding the suitable match for his daughter.

“Marriage, birth or death- where how and when it must be; there thus and then only it happens, surely and not otherwise.”24

 The Minister’s Vow is the strong example of established convention and political pragmatism that has been challenge by the strong urges of individual in form of instinctive obsession and precipitate nature. These characteristic symbolizes mythical concept and even contemporary context it is highly relevant with every individual and society.

Dr Swati Joshi

Gujarat 

डॉ हर्षा त्रिवेदी की दस कविताएं

 


















 डॉ हर्षा त्रिवेदी 

स्थायी निवास : उदयपुर,राजस्थान। 

विद्या वाचस्पति : पद्मश्री "दयाप्रकाश सिन्हा के नाटकों का अनुशीलन" ( मोहनलाल सुखाड़िया विश्वविद्यालय, उदयपुर से ) 

प्रकाशन : 

मौलिक पुस्तकें : सहारों का 

बंधन ( हिंदी नाटक) , नाटककार दयाप्रकाश सिन्हा, शब्द संधान । 

शोध आलेख : राष्ट्रीय-अंतरराष्ट्रीय प्रतिष्ठित शोध-पत्रिकाओं/ पुस्तकों में 25 से अधिक शोध आलेख प्रकाशित ।

उपलब्धि : 30 से अधिक राष्ट्रीय-अंतर्राष्ट्रीय संगोष्ठिओं विशेषकर संयुक्त राष्ट्र संघ, जिनेवा में भारत का प्रतिनिधित्व करते हुए "Existential and functional harmony between the man and the nature: A Rigvedik Phenomenon " विषय पर पत्र-वाचन,

राष्ट्रीय उच्च अध्ययन संस्थान,राष्ट्रपति निवास, शिमला से Associate  

विशेषज्ञता : हिन्दी नाटक, फिल्म पटकथा लेखन एवं अभिनय में विशेष रूचि । राजसमंद विकास किरण,एन अनलकी डे, भूत एन अनटोल्ड स्टोरी,नो रूल्स आदि शार्ट फिल्मो का पटकथा लेखन । 

सम्प्रति : विवेकानंद इंस्टिट्यूट ऑफ प्रोफेशनल स्टडीज-TC ( गुरू गोविंद सिंह इन्द्रप्रस्थ विश्वविद्यालय दिल्ली से संबद्ध ) पीतमपुरा,दिल्ली में सहायक आचार्य हिंदी के रूप में 2018 से कार्यरत। 

संपर्क : harsha.trivedi@vips.edu 



1. तुम्हारी तकलीफ़ें । 


हे स्त्री !

तुम्हारी तकलीफ़ें 

निजी होकर भी 

उन सब की हैं जो 

आदतन 

इस बात पर 

विश्वास करती हैं कि 

विश्वास 

कायम रहना चाहिए 

मनुष्यता 

बची रहनी चाहिए 

और संघर्ष 

निरंतर जारी रहना चाहिए । 


2. और इस तरह । 

 अब मैं 

 चुप रहूँगी 

 तुमसे जुड़ी 

 हर एक बात पर 

 और इसतरह 

 एक सजा काटूँगी 

 उम्र भर । 


3. कायरता और प्रेम । 

 कायरता 

 स्वभाव ही नहीं 

 हथियार भी है 

 स्वार्थी और आत्मकेंद्रित लोगों का । 

किसी कायर से प्रेम 

प्रेम की हत्या है । 


4. संभावनायें । 

 प्रेम में संभावनायें 

 विश्वास की डोर से 

 बँधीं होती हैं । 

शायद तभी 

तुम कर सके 

मुझे प्रेम । 


5. नैतिक इतिहास ।

समुच्चय में निबद्ध 

श्रेष्ठता के

आदर्शों का बोझ 

नैमित्तिक स्तर पर

हमारे

नैतिक इतिहास को

अनुप्राणित करते हुए

बदलता है

शक्ति के 

उत्पाद रूप में ।


सत्ता प्रयोजन से

संकुचित

परिवर्तन का लहज़ा 

किसी विसम्यकारी 

तकनीक से

हमारे सत्ता व ज्ञान सिद्धांत 

हमेशा लोगों को

संरचनात्मक स्तर पर

एक लहर में

निगल जाती है

और हम 

अपनी संकल्पनाओं से दूर 

प्रस्थान करते हैं 

जड़ताओं में

जड़ होते हैं ।



6. प्रज्ञा अनुप्राणित प्रत्यय । 


किसी प्रज्ञावान व्यक्ति का 

शब्दबद्ध वर्णन 

उसके सद्गुणों की 

यांत्रिक व्याख्या मात्र है 

या फ़िर

शब्दाडंबर ।


जबकि 

उसकी वैचारिक प्रखरता

उसके लंबे

अध्यवसाय की 

अंदरुनी खोह में 

एक आंतरिक तत्व रूप में

कर्म वृत्तियों को

पोषित व प्रोत्साहित करती हैं ।


उच्च अध्ययन कर्म 

एक ज्ञानात्मक उद्यम है 

जो कि

प्रज्ञा की साझेदारी में 

पोसती हैं

एक आभ्यंतर तत्व को 

जो कि 

अपने संबंध रूप में 

ईश्वर का प्रत्यय है ।


लेकिन ध्यान रहे 

घातक संलक्षणों से ग्रस्त 

छिद्रान्वेषी मनोवृत्ति

आधिपत्यवादी 

मानदंडों की मरम्मत में 

प्रश्न से प्रगाढ़ होते रिश्तों की 

जड़ ही काट देते हैं 

और इसतरह 

अपने सिद्धांतों के लिए 

पर्याय बनने /गढ़ने वाले लोग 

अपनी तथाकथित जड़ों में

जड़ होते -होते 

जड़ों से कट जाते हैं ।


7. हाँ मैं भी चिराग़ हूँ पर ।

हाँ मैं भी चिराग़ हूँ पर ।

कुछ सवालात हैं

कि जिनमें 

उलझी सी हूँ 

मैं भी एक चिराग़ हूँ 

बस

बुझी- बुझी सी हूँ ।


अब भी उम्मीद है

कि वो आयेगा ज़रूर 

सो प्यार की राह में 

ज़रा

रुकी- रुकी सी हूँ । 


न जाने

कितनी उम्मीदों को 

ढोती हूँ पैदल 

अभी चल तो रही हूँ

पर 

थकी - थकी सी हूँ । 


यूँ तो आज भी

इरादे 

वही हैं फ़ौलाद वाले 

बस वक्त के आगे

थोड़ा

झुकी- झुकी सी हूँ ।



8. राष्ट्र,राष्ट्रीयता और राष्ट्रवाद ।

   

      जब वो राष्ट्र की बात करे

      तो तुम मनुष्यता की दुहाई दो 

      जब वह राष्ट्रीयता कहे

      तब तुम मनुष्य की स्वतंत्रता कहो 

      यह जानते हुए भी कि

      राष्ट्र एक आदर्श यथार्थ है और

      मनुष्यता आदर्श भाव ।


     मनुष्यता यात्रा है

     पावनता के पुनर्वास की

     अनवरत प्रयास की 

     और राष्ट्र 

     वह खोह है 

     जहां हर तरह से 

     संपन्न होकर 

     तुम विपन्नता का 

     राग अलाप रहे हो ।


     अधिकारों की चिंता से ग्रस्त 

     दायित्व से अनजान 

     तुम बौद्धिकता की

     फटी डफली का राग हो 

     यह राष्ट्र ही है 

     जिसे तुम कोसते हो निरंतर 

     इसी पर बोझ बनकर ।


     नहीं मैं प्रमाणित नहीं कर रही 

      ना ही कुछ साबित कर रही 

      मैं तो वैसे ही पक्ष में खड़ी हूं 

      जैसे कि तुम 

      विपक्ष में 

      ताकि जब इतिहासों को 

      खंगाला जाय 

      तो जयचंदों को 

      चिन्हित किया जा सके ।


     मुझे तुमसे घृणा भी नहीं 

     क्योंकि वो दुकान 

     तुम्हारी है 

     मैं तो आभारी हूं 

     कि तुमने 

     मेरे संकल्पों, विचारों को

     अधिक दृढ़ किया ।


      राष्ट्र 

      तन है 

      राष्ट्रीयता 

      भाव है 

      राष्ट्रवाद 

       प्राण है 

       और नहीं है 

       तो होना चाहिए 

       क्योंकि सुंदर संकल्पों, सपनों इत्यादि के लिए

       पहले आप का होना अनिवार्य है ।



9. अनुच्छेद 370    


मानवीय उदारता का विस्तार

प्रेम, करुणा और स्वतंत्रता जैसे मूल्य 

राष्ट्रीय भावनाओं से 

श्रेष्ठ कैसे हो गए ?

कब हो गए ?

क्यों हो गए ?

अगर कहो तो

बता भी दूं ।


सुविधा,संपन्नता 

और सुरक्षा के प्रति 

आश्वस्त रहते हुए 

तुम एक नास्टेल्जिया जीते हो 

विरोधा भक्ति में लीन

निरर्थकता का साहित्य रचते हो

यह बताते हुए कि

देश हार गया 

देश सो गया 

या कि ऐसी ही कोई

विछिप्तता पूर्ण 

कविता,कहानी या लेख 

और यह सब करते हुए

इसी देश में 

आराम फरमा रहे हो 

यह कहते हुए कि 

यह देश अब हराम है ।


सुनो बंधु !

मैं तुम्हारी बुद्धि की कायल हूं

पर विचारों की नहीं 

इसलिए 

मुस्कुरा रही हूं

तुम्हारी इस 

बेचैनी भरी समझ पर ।


दरअसल 

बात बहुत छोटी है

वह यह कि

राष्ट्र सबसे पहले है 

क्योंकि राष्ट्र 

हमारी प्राण वायु है 

इन रगो में बहता खून

हमारा जुनून है ।


आलोचना की ओट में

तुम कहां चोट कर रहे हो ?

अरे बचोगे 

तभी तो रचोगे ?

मनुष्यतर सपनों का संसार 

कृतज्ञतर विचार 

समावेशी संस्कृति 

और ऐसा ही बहुत कुछ 

भले 

फैशन में ही सही ।


वैसे 

जितना जानती हूं तुम्हें

उसमें 

तुम कृतज्ञ मनुष्य

कभी लगे नहीं मुझे 

पर यह तो था कि

तुम लगे रहे 

और लगते लगते 

तुम लगने लगे ।


अब देखो 

अनुच्छेद 370 

एक बदबूदार नाली थी 

जिससे  

राष्ट्र का खून पिया जा रहा था

कई सालों से

और हम पिला रहे थे

क्योंकि राष्ट्र

अखंड रहे इसीलिए 

और आज 

यह नाली बंद कर दी गई

क्योंकि राष्ट्र 

अखण्ड है इसलिए 

पर तुम हो कि........ ।


जिन 

उदार मूल्यों को

बस 

लिख भर देते हो 

उन्हें 

जीना भी सीखो

और तब 

तुम देखोगे कि 

यह किसी के पक्ष या विपक्ष का नहीं

अपितु

गौरव और स्वाभिमान का प्रश्न है ।



10. सहयज्ञ ।


अतिवादिता का उद्रेक 

वांछनीय और प्रतीक्षित

रूपांतण की संभावित प्रक्रिया को 

असाध्य बना देता है 

फ़िर ये भटकते हुए सिद्धांत

समय संगति के अभाव में 

अपने प्रतिवाद खड़े करते हैं

अपने ही विकल्प रूप में ।


यही संस्कार है

सांस्कृतिक संरचना का

जो निरापद हो

परंपरा की गुणवत्ता

और प्रयोजनीयता के साथ

करता है निर्माण

प्रभा, ज्ञान और सत्य का ।


ज्ञानात्मक मनोवृत्ति

संभावनात्मक नियमों की खोज में 

लांघते हुए सोपान 

करती हैं घटनाओं के अंतर्गत

हेतुओं का अनुसंधान

और देती है

सनातन सारांश ।


स्वरूप के विमर्श हेतु 

सौंदर्यबोधी संवेदनशीलता

खण्ड के पीछे

अखण्ड का दर्शन तलाशती है

प्रतिवादी शोर को 

संवादी स्वरों में बदलती है

और अंत में 

अपनी आनुष्ठानिक मृत्यु पर भी

सबकुछ सही देखती है

क्योंकि वह 

सब को साथ देखती है ।












जल संकट पर डॉ मनीष कुमार मिश्रा का आलेख

 जगत पियासो जाय ............

डॉ. मनीष कुमार सी. मिश्रा

हिंदी-विभाग

के.एम.अग्रवाल महाविद्यालय

कल्याण-पश्चिम, महाराष्ट्र

manishmuntazir@gmail.com

मो. 8090100900 / 8080923132

                  नीति आयोग, भारत सरकार ने जून 2018 में Composite Water Resources Management Report को पेश किया । यह रिपोर्ट साफ़ बताती है कि भारत अपने अब तक के सबसे बड़े जल संकट से जूझ रहा है ।1 रिपोर्ट बताती है कि भारत की 600 मिलियन (60 करोड़) आबादी पीने के साफ़ पानी की उपलब्धता से वंचित है ।2 देश के लगभग दो लाख नागरिक प्रतिवर्ष पीने के साफ़ पानी की उपलब्धता न होने के कारण मारे जा रहे हैं । एक अनुमान के अनुसार वर्ष 2030 तक पीने के साफ़ पानी की माँग वर्तमान आपूर्ति क्षमता की दोगुनी होने का अनुमान है, ऐसे में हालात और ख़राब हो सकते हैं । देश के भूजल राशि का बेहिसाब दोहन भी चिंता का विषय है । देश की 40% आबादी पीने के पानी के लिए आज भी इसी भूजल पर निर्भर है ।3 देश के 84% ग्रामीण इलाक़ों में पाईप लाईन द्वारा अभी भी पानी सप्लाई नहीं हो रहा है ।4 मोटे तौर पर ये आंकड़ें आने वाले विकट समय की तरफ़ एक इशारा है । अगर समय रहते हम नहीं चेते तो आनेवाली पीढ़ियाँ हमें कभी माफ़ नहीं करेंगे ।

                सरकार इस समस्या से निपटने के लिए जो भी क़दम उठा रही है वह बिना बड़ी जन भागीदारी के सफ़ल नहीं होगी । हाल ही में भारत सरकार द्वारा स्वच्छ भारत योज़ना और गंगा सफ़ाई जैसी जो योजनाएँ शुरू की हैं, उनमें सफलता का आधार ही जन आधार है । स्वच्छ गंगा परियोजना का आधिकारिक नाम एकीकृत गंगा संरक्षण मिशन परियोजना या 'नमामि गंगे' है। नमामि गंगे परियोजना के तहत जनवरी 2016 से ही गंगा की सफाई तीन चरणों में होनी है जिसमें अल्पकालिक योजना व पांच वर्ष की दीर्घावधि योजना शामिल है।नमामि गंगे योजना, महज गंगा की सफाई की ही नहीं सरंक्षण की भी योजना है।

             सरकार की गंगा नदी के किनारे बसे 30 शहरों में सीवेज ट्रीटमेंट प्लांट लगाने की योजना है । गंगा सफाई पर केंद्र सरकार की कार्य योजना से असंतुष्ट उच्चतम न्यायालय ने कड़े लहजे में कहा कि इससे तो 200 साल में भी यह कार्य पूरा नहीं हो सकता । नमामि गंगे योजना के क्रियान्वयन में कैग रिपोर्ट में खामियां उजागर होने के बाद मोदी सरकार ने गंगा नदी की सफाई को लेकर खास प्रगति नहीं होने पर एक नई कार्यान्वयन योजना बनाई है। इस योजना के तहत अब सरकार कॉरपोरेट और आम जनता को गंगा नदी की सफाई के लिए आगे आने को कहेगी । इससे साफ़ है कि इस तरह की योजनाओं की सफलता में जन भागीदारी का कोई विकल्प नहीं है ।

(मानचित्र सौजन्य : नीति आयोग,Composite Water Resources Management Report, may 2018.)

          उपर्युक्त चित्र के आधार पर यह साफ़ हो जाता है कि पूरे देश में जल प्रबंधन की स्थिति उत्साह वर्धक नहीं है ।5 ऐसे में सरकारों को भी इस विषय पर अधिक गंभीर होकर कार्य करने की आवश्यकता है । इन सब स्थितियों के लिए हम सभी जिम्मेदार हैं । बढ़ते शहरीकरण ने पानी से हमारे ताने – बाने को प्रभावित किया है ।

           हम जानते हैं कि पूरी दुनियाँ में मानवीय सभ्यता का विकास किसी न किसी नदी के किनारे ही हुआ है । जल हमेशा से ही जीवन का आधार है और रहेगा । जल ही जीवन है जैसी बातें हम लगातार सुनते रहे हैं । लेकिन बढ़ते शहरीकरण और स्थांतरण की स्थितियों ने एक नई समस्या हमारे सामने लाकर खड़ी कर दी है । वह है जल से हमारे तादाम्य और सामंजस्य की । नल की टोटी खोलते ही गिरनेवाला पानी दरअसल जल से हमारा वह रिश्ता नहीं बना सकता जो कूओं,तालाबों,नहरों और नदियों के सानिध्य में बनता है । यही कारण है कि आज़ हम गंभीर जल संकट की दहलीज़ पर हैं ।

          बढ़ते औद्योगीकरण और विषैले रसायनों को सीधे प्राणदायनी नदियों में छोडकर हमने नदियों के जीवन को ही संकट में डाल दिया है । आज़ देश की अधिकांश नदियाँ प्रदूषित हो चुकी हैं । कई सूख चुकी हैं तो कई सूखने की कगार पर हैं । सरकारें समय-समय पर नदियों के संरक्षण की योजनाएँ बनाती रही हैं पर जब तक बड़े पैमाने पर जन भागीदारी सुनिश्चित नहीं होगी, तब तक तस्वीर बदलना मुश्किल है । नदियों में डाले जा रहे कूड़े- कचरे से पानी की स्व:पुनर्चक्रण क्षमता के घटने के परिणाम स्वरूप जल प्रदूषण बढ़ता है । केन्द्रिय प्रदूषण नियंत्रण बोर्ड की रिपोर्ट के अनुसार, भारत में गंगा सबसे प्रदूषित नदी है । इस प्रदूषण का कारण यह है कि कई चमड़ा बनाने के कारखाने, कपड़ा मिलें और बूचड़ खाने से नदी में सीधे अपना कूड़ा - कचरा जिसमें भारी कार्बनिक कचरा और सड़ा सामान शामिल है, उसे छोड़ते हैं। एक अनुमान के अनुसार, गंगा नदी में रोज लगभग 1,400 मिलियन लीटर सीवेज़ और 200 मिलियन लीटर औद्योगिक कचरा अभी भी चोरी – छुपे छोड़ा जा रहा है।यही हाल देश की अन्य महत्वपूर्ण नदियों का भी है । यद्यपि सरकार इनको नियंत्रण में लाने का प्रयास कर रही है पर कोई सकारात्मक असर दिखाई नहीं पड़ रहा ।

             कई दूसरे उद्योग भी हैं जिनसे जल प्रदूषण लगातार बढ़ रहा है । मांस से जुड़े काम,खाद,चीनी मिलें, भट्टी, ग्लिस्रिन, टिन, पेंट, साबुन, सिल्क, सूत आदि से जो जहरीले कचरे निकालती हैं। पिछले कई दशकों में ये स्थिति और भी भयावह हो चुकी है। जल प्रदूषण से बचने के लिये सभी उद्योगों को मानक नियमों का सख्ती से पालन करना चाहिये, सरकार को भी सख्त कानून बनाने चाहिये । पूरे देश में सीवेज़ लाईन और जल उपचार/ शुद्धिकरण संयंत्र की स्थापना, सुलभ शौचालयों आदि का निर्माण बड़े पैमाने पर करना चाहिये। भारत की वर्तमान सरकार इस दिशा में गंभीर भी है ।

           सर्वव्यापी स्वच्छता प्रयासों में तेजी लाने के लिए और स्वच्छता पर बल देने के लिए प्रधानमंत्री श्री नरेन्द्र मोदी जी ने दिनांक 2 अक्टूबर, 2014 को स्वच्छ भारत मिशन की शुरूआत की। मिशन का उद्देश्य महात्मा गांधी की 150वीं वर्षगाँठ को सही रूप में श्रद्धांजलि देते हुए वर्ष 2019 तक स्वच्छ भारत की प्राप्ति करना है। पेयजल और स्वच्छता मंत्रालय,भारत सरकार की वेबसाइट हमें यह जानकारी देती है कि दिनांक 2 अक्टूबर, 2014 से अब तक स्वच्छ भारत मिशन के माध्यम से पूरे देश में 790.32 लाख शौचालय बनाये जा चुके हैं । ये आंकड़ें उत्साह वर्धक हैं । लेकिन अभी इस दिशा में एक लंबा रास्ता तय करना है ।

                 भारत देश एक कृषि प्रधान देश है । खेती-किसानी और पानी का नाता अटूट है । अपने इस देश को हम सुजलाम कहते हैं लेकिन इसका जल अब सुजल नहीं रहा । किसी एक सभ्यता के विकास में कई संस्कृतियाँ पनपती हैं । जब हम जल संस्कृति की बात करते हैं तो हमारा आशय जीवन के संदर्भ में जल को देखने से होता है । इसका एक आशय यह भी है कि हमारी जीवन शैली में जल के साथ संबंधों के ताने-बाने की पड़ताल । यही वह ताना-बाना है जिससे शहरीकरण और आधुनिक जीवन शैली ने हमें दूर कर दिया है । इसी दूरी का ही परिणाम है कि न केवल भारत अपितु पूरा विश्व आज़ जल संकट से जूझ रहा है ।

                वह समाज जो जल के केंद्र में विकसित होता है उसकी संस्कृति का मुख्य आधार जल ही होता है । हमारी पृथ्वी पर पानी की कोई कमी नहीं है । क्षेत्रफल की दृष्टि से देखा जाय तो पृथ्वी के 30% भाग पर जमीन और 70% भू भाग पर पानी है । पानी के स्रोतों को जैसे-जैसे मानव समाज विकसित करते गया वैसे-वैसे उसके जीवन में स्थिरता आने लगी । इन जल स्रोतों के आधार पर ही सिंचाई व्यवस्था का विकास हुआ । भारत ने बहुत पहले से ही जल राशि को अपने जीवन का आधार बनाया । हमारा शरीर जिन पाँच तत्वों से मिलकर बना है उनमें जल भी एक है ।

                यह प्रकृति का एक सुंदर चक्र है जिससे ऋतुओं का आगमन होता है । वर्षा ऋतु में समुद्र का जल वाष्पीकरण द्वारा मेघों में बदलते हैं । ये मेंघ फ़िर वर्षा करते हैं । इस वर्षा से पहाड़ों से नदियाँ और झरने फूट पड़ते हैं । तालाब लबालब भर जाते हैं । जमीन में जल स्तर बढ़ता है । यह सब प्रकृति का वरदान उसकी कृपा है । लेकिन ग्लोबल वार्मिंग के इस दौर में हम अपने ही किये हुए कृत्यों का दुष्परिणाम भुगतने को अभिशप्त हैं । हमनें प्रकृति की चिंता नहीं की, उसके प्रवाह को प्रभावित करने का पाप किया और खुद ही इतनी बड़ी मुसीबत में पड़ गये ।

                भारत के संदर्भ में बात करें तो हिमालय की पूरी श्रेणियों से एक अनुमान के अनुसार 1.25 लाख जल स्रोत निकलते हैं ।6 यही कारण है कि भारतीय संस्कृति में हिमालय का महत्वपूर्ण स्थान है । गंगा जैसी कई नदियों का उद्गम हिमालय क्षेत्र से ही होता है । इन जल स्रोतों का उपयोग मानव जीवन को बेहतर बनाने के लिये कैसे किया जाय ? यही वह प्रश्न था, जिसने हमारे पूर्वजों को जल से जुड़ी तकनीक विकसित करने के लिये प्रेरित किया होगा । यह तमाम तकनीक पीढ़ी दर पीढ़ी संचित अनुभव के आधार पर धीरे-धीरे विकसित हुई होगी । इस बात के प्रमाण मिलते हैं कि बाँध बनाने कला लगभग 2000 वर्षों पुरानी है । तमिल ग्रन्थों में “अनिकट” शब्द मिलता है जिसका अर्थ है बाँध ।7 लद्दाख जैसे बर्फ से आच्छादित रहने वाले भाग में जल संचय की प्राचीन तकनीक झिंग नाम से जानी जाती है ।8 कर्नाटक में ऐसी ही पद्धति को केरे कहते हैं ।9 जिन इलाकों में लंबे समय तक पानी भरा रहता था या बाढ़ अधिक आती थी वहाँ पर भी पानी को निकालने एवं पानी में डूबे इलाकों में रोग का प्रसार न हो इसलिए ऐसे जलाशयों में बड़े पैमाने पर मछ्ली पालन किया जाता था । बंगाल में तालाबों में मछली पालन दरअसल एक महत्वपूर्ण योजना थी । इससे जल शुद्ध भी रहता, रोगों की रोकथाम में मदद मिलती और आहार के रूप में पर्याप्त मछली भी मिलती ।

             भारत में जल संचय और इसके उपयोग की अनेकों पद्धतियाँ प्राचीन काल से ही प्रचलन में थी । भू जल स्तर कैसे बढ़ाया जाय इसका भी अच्छा ज्ञान हमारे पूर्वजों को था । राजस्थान में जिस तरह के तालाब और कुऐं बने हैं उन्हें देखकर लोग आज़ भी आश्चर्य करते हैं । मिज़ोरम जैसे राज्यों में वर्षा तो बहुत होती है लेकिन पहाड़ों का सारा पानी नीचे आ जाता है । इसलिए घर की छतों से गिरने वाले जल को बगल में ही कुंड बनाकर संचित रखने की प्राचीन परंपरा उनके यहाँ रही है । गुजरात के सौराष्ट्र में भी ऐसी ही परंपरा देखी जाती है । इन सबसे स्पष्ट है कि हमारे यहाँ जल संचय की प्राचीन परंपरा रही है ।

           सिंधु नदी के किनारे सिंधु संस्कृति का विकास होता है, जो की विश्व की प्राचीनतम संस्कृतियों में से एक है । इसी तरह वोल्गा और नील नदी के किनारे भी विश्व की अनेक संस्कृतियाँ विकसित हुई । आर्यों को शुरू से इस बात का पता था कि नदियों के महत्व को नजरअंदाज नहीं किया जा सकता है । गंगा भारत की सबसे लंबी नदी है, जिसके किनारों पर प्राचीन काल से ही नगर बसते रहे हैं । हिमालय से बंगाल तक गंगा के किनारे बने लगभग 40 करोड़ लोग किसी न किसी रूप में गंगा पर निर्भर हैं । इसीलिए गंगा को भारत में मां का दर्जा प्राप्त है । इतनी बड़ी जनसंख्या को पालने- पोसने वाली दुनियां की कोई दूसरी नदी नहीं है । भारत की लगभग एक तिहाई जनसंख्या गंगा से ही जुड़ी हुई है । गंगा की सहायक नदियों में यमुना, सरयू का विशेष महत्व है । सरयू किनारे बसे अयोध्या का राज्य वैभव पूरी दुनियां में अनोखा था । यमुना के किनारे बसे हस्तिनापुर और इंद्रप्रस्थ महाभारत काल के साक्षी रहे हैं । गंगा किनारे बसी काशी नगरी महादेव की नगरी मानी जाती है ।

                हमारे यहां जीवन से लेकर मृत्यु तक हर तरह के धार्मिक कार्यों में जल का महत्वपूर्ण योगदान है । जल के बिना हमारे यहां किसी धार्मिक अनुष्ठान की कल्पना तक नहीं की जा सकती । भारत में 10,00,000/ से अधिक तालाबों के होने के प्रमाण मिलते हैं ।10 इन तालाबों का उपयोग सिंचाई और पीने के पानी के लिए किया जाता रहा है । सन 1955-56 तक आंध्र प्रदेश में 60,000/ तालाब थे ।11 कर्नाटक में 45,000/ और तमिलनाडु में 55,000/ तालाबों पर आश्चर्य होता है ।12 आज इन तालाबों की अधिकांश स्थिति सोचनीय है । इनमें से अधिकांश का अस्तित्व ही दिखाई नहीं पड़ता । शहरों में कुओं की संख्या भी बड़े पैमाने पर खत्म हो चुकी है, जो है वह निरुपयोगी होने से उनकी देखभाल नहीं हो रही । इस कारण जो कुएं बचे हैं उनकी भी कोई उपयोगिता नहीं है । हमारे देश में 70,00,00/ से अधिक गांव हैं । इन गावों का भरण-पोषण मुख्य रूप से कृषि पर अवलंबित है । कृषि निर्भर है पानी की उपलब्धता पर ।

                देश के अधिकांश इलाके कृषि के लिए वर्षा पर निर्भर करते हैं लेकिन बढ़ते प्रदूषण और ग्लोबल वार्मिंग के कारण ऋतु चक्रों में जिस तरह का बदलाव परिलक्षित हो रहा है, वह सोचनीय है । यह परिस्थितियां आने वाले दिनों में विकराल रुप धारण कर सकती हैं । आज की हमारी औद्योगिक संस्कृति हमारी जल संस्कृति के लिए नकारात्मक साबित हो रही हैं । आर्थिक और औद्योगिक विकास के इस युग में युद्धों का स्वरुप बदल गया है । अब सीधे - सीधे तो बंदूक और गोली से लड़ाई नहीं लड़ी जाती अपितु वैश्विक व्यापार का खेल खेला जाता है ।

               जल, जंगल और जमीन की पूरी लड़ाई प्राकृतिक संसाधनों पर कब्जे की लड़ाई है । चीन जैसे विस्तारवादी देश इसका प्रत्यक्ष उदाहरण है । भविष्य में जल संकट इतना विकराल रूप लेने वाला है कि यह महायुद्ध का भी कारण बन सकता है । ब्रम्हपुत्र नदी पर चीन द्वारा बांध बनाया जाना भारत द्वारा पाकिस्तान को पानी न छोड़ने की धमकी जैसी जो बातें हम अखबारों में पढ़ते हैं, उससे जल संकट के भावी स्वरूप का अंदाजा लगाया जा सकता है । वर्तमान जल संकट के लिए जो कारण जिम्मेदार हैं उनमें वर्षा पर निर्भरता, जल संचय की योजनाओं की कमी, बढ़ता जल प्रदूषण और बढ़ती जनसंख्या जिम्मेदार है । भूगर्भ में उपलब्ध जल राशि का अत्यधिक दोहन भी इस समस्या का कारण है हमारे देश में जमीन से कितना जल निकाला जा सकता है इस पर कोई व्यावहारिक केंद्रीय कानून नहीं है । लोग बिजली का मोटर लगाकर मनमाना दोहन कर रहे हैं, जबकि विदेशों में कई देशों ने इस संबंध में कानून बनाए हैं ।

            आवश्यकता से अधिक जल राशि भूगर्भ से निकाले जाने पर वहां पर सजा का प्रावधान है । ऐसी सख्त कानून की व्यवस्था हमारे यहां भी होनी चाहिए । नदियों के प्रवाह को रोकने वाले बांध भी बड़ी संख्या में बनाए जा रहे हैं । इससे नदियों का प्राकृतिक प्रवाह बाधित होता है और जल समस्या बढ़ रही है । हरित क्रांति से जहां देश में खाद्यान की कमी पूरी हुई और हमारे अन्न भंडार भर गए, वहीं इसकी वजह से अत्यधिक मात्रा में यूरिया और अन्य रासायनिक खादों के उपयोग से जल प्रदूषण बढ़ा है । अनाज विषैले हुए हैं । राजनीतिक दूरदृष्टि और इच्छाशक्ति की कमी भी वर्तमान के जल संकट के लिए जिम्मेदार है । यह जानते हुए भी कि हमारे जीवन में जल का कोई विकल्प नहीं है, हम लगातार गलतियां कर रहे हैं । इसका भयानक परिणाम हमें और हमारी आनेवाली पीढ़ियों को भोगना होगा ।

                 जब भी हम जल संस्कृति के अध्ययन की बात करेंगे तो हमें जिन साधनों पर आश्रित होना होगा, वे हैं नदियां, झरने, पोखर, तालाब, झरने, कुंड, उद्गम स्थल, इतिहास और इनके साथ ही पानी और भाषा साहित्य ग्रंथ, शिलालेख, सिक्के, धार्मिक स्थल, उत्खनन से प्राप्त जानकारी इत्यादि । इन्हीं के आधार पर हम जल संस्कृति का व्यापक अध्ययन कर सकेंगे । भारत में जल संरक्षण और इसके नियोजन से जुड़े जो प्रमाण प्राप्त होते हैं वे ईसा पूर्व 2750 से ईसा पूर्व 1650 के हड़प्पा सिंधु संस्कृत से ही दिखाई पड़ने लगते हैं । घुमंतू कृषकों की बस्तियों इत्यादि में ईसा पूर्व 1650 से ईसा पूर्व 600 तक में भी जल से जुड़े कई प्रमाण मिलते हैं । ईसा पूर्व 600 से ईसा पूर्व 400 में बहुत से राजघरानों एवं साम्राज्यों के अंतर्गत इस तरह के प्रमाण दिखाई पड़ते हैं । जैसे कि नंद वंश, मौर्य वंश, सातवाहन, पल्लव इत्यादि ।

              इस समय अवधि में आचार्य चाणक्य जैसे विद्वान हुए जिन्होंने जल संरक्षण और उसके महत्व को प्रतिपादित किया । ईसवी सन 400 से ईसवी सन 600 तक का समय जनकल्याणकारी योजनाओं का समय माना जाता है । अनेक शिलालेखों में इसका उल्लेख भी मिलता है । इस समय के सिक्कों में जल प्रतीक दिखाई पड़ते हैं । गुप्तकालीन शिल्प कला में भी जल के महत्व एवं उनके संरक्षण इत्यादि को प्रमाण रूप में देखा जा सकता है । ईसवी सन 680 से ईसवी सन 1200 तक का समय जनसंख्या में वृद्धि और शहरीकरण / नगरी सभ्यता के विकास का समय था । मंदिरों, धर्मशाला इत्यादि का निर्माण इस कालखंड में अधिक हुआ । वर्धन,चालुक्य, यादव, सोलंकी , पल्लव राजवंश इसी समय में हुए । इन तमाम राजवंशों द्वारा जल के संदर्भ में किए हुए कार्यों का उल्लेख इस समय के शिलालेखों में मिलता है ।

                 ईसवी सन 1200 से ईसवी सन 1800 तक का समय मुगल शासन, इस्लाम के आक्रमण और तलवार के जोर पर धर्म प्रचार का समय था । दिल्ली में आगे चलकर मुगलों का शासन हो गया । सन 1750 तक मुगलों का शासन रहा, लेकिन सन 1646 के आसपास से देश के कई भागों में मुगलों का विरोध शुरू हो गया था और छोटी-छोटी रियासतें अस्तित्व में आने लगीं थी । महाराष्ट्र में शिवाजी ने भी आदिल और निजामशाही के कुछ किलों पर कब्ज़ा करके स्वराज्य का तोरण बांधा । बाद में अंग्रेजों की सत्ता धीरे-धीरे पूरे भारत पर कब्जा करने में कामयाब हो गई । मोटे तौर पर ईसवी सन 1800 से ईसवी सन 1947 तक हमारा यह देश अंग्रेज़ों का गुलाम रहा । अंग्रेजों ने भी अपने समय में जल व्यवस्थापन के कई महत्वपूर्ण काम किए । लेकिन जनता के साथ इन जल राशियों का जो सीधा संबंध था वह खत्म हो चुका था । इस जलाशयों पर अंग्रेजों का या अंग्रेजी शासन का कब्जा हो गया । इस तरह जनमानस का जो व्यक्तिगत ताना - बाना इन जल राशियों के साथ था, वह खत्म हो गया । फिर भी राजस्थान, तमिलनाडु, महाराष्ट्र जैसे कई इलाकों में जन सहयोग से जल संरक्षण के काम होते रहे ।

                      हमारे वेदों, पुराणों में भी कई कथाएं ऐसी मिल जाती हैं जो जल के महत्व को प्रतिपादित करती हैं । परुष्णी नदी के जल बंटवारे को लेकर वेदों में युद्ध का उल्लेख है तो भगीरथ के प्रयासों से गंगा का धरती पर अवतरण की कथा सभी को पता है । प्राचीन काल में यातायात के साधन के रुप में जल मार्ग का उपयोग होता रहा है । ऋग्वेद में दाशराज्ञ युद्ध का वर्णन है, जिसके मूल में जल को ही माना जाता है । महाभारत और रामायण काल की बहुत सारी कथाओं में इस तरह के उदाहरण मिलते हैं । उस समय में सिंचाई की योग्य व्यवस्था करना प्रजापालक राजा का कर्तव्य माना जाता था । दान की अपेक्षा जल दान का महत्व अधिक था । जलदान को ही जीवनदान कहा गया है । जलाशय सबके शांति के स्थल माने गए हैं । उनमें मनुष्य देव, दानव, पशु, पक्षी सभी को विश्रांति मिलती है ।

                 महाभारत में कहा गया है कि जलदान से कुल का उद्धार होता है । पुरातत्व विभाग द्वारा कई बर्तनों के अवशेष भी प्राप्त हुए हैं, जिनमें धान्य और जल संचित करने की व्यवस्था उस समय से दिखाई पड़ती है । जानवरों के पीने के पानी की अलग से व्यवस्था के प्रमाण मिलते हैं । गंगा, सिंधु, भागीरथी, यमुना, नर्मदा, गोदावरी, ताप्ती, भीमा, कृष्णा और कावेरी जैसे नदियों का भारत देश की खुशहाली में महत्वपूर्ण योगदान है । इन्होंने ही हमारी सांस्कृतिक पहचान को आकार दिया है । जब हम प्राचीन जल ज्ञान को लेकर बात करते हैं तो हमारे सामने जो नाम प्रमुखता से आते हैं वह है वराह मिहिर और कृषि पराशर का । आचार्य चाणक्य / कौटिल्य ने भी जल नियोजन की महत्वपूर्ण बातें की हैं । तालाबों के निर्माण से जुड़े पुश्तैनी लोग होते थे जो इस काम में निपुण माने जाते थे ।

                देश के अलग-अलग भागों में इन्हें अलग-अलग नामों से जाना जाता रहा है । गजधर, सिलावट, चुनकर, दुसाद, भील, गोंड, सहरिया, मीना और सुनपुरा, महापात्रा मुसहर, नवनिया और गोवंडी जैसी कई जातियों का उल्लेख पूरे भारत के अलग-अलग क्षेत्रों से मिलता है । इतनी अपार जलराशि और इसके संचयन समर्थन की इतनी प्राचीन परंपरा के बाद भी आज हम बोतलबंद पानी पीने के लिए मजबूर हैं । हम अपनी गलतियों की कीमत चुका रहे हैं लेकिन आने वाला समय और भयानक हो सकता है । जल को लेकर विश्व युद्ध तक की चेतावनी आने वाले जल संकट की तरफ इशारा कर रही है । हम समय रहते अगर नहीं चेते तो परिणाम बहुत भयंकर होंगे ।

                पृथ्वी का एक नाम जलनी अर्थात जल से निकली हुई है । जल से निकली हुई अर्थात इसका पालन पोषण जल से ही हुआ है तो, उस जल के बिना इस धरती की हालत बिना जल की मछली की तरह है । जिस गंगा का पानी औषधि के रूप में माना जाता था आज वह गंगा प्रदूषित हो चुकी है । सरस्वती जैसी नदी विलुप्त हो चुकी है । लाखों तालाब सूख चुके हैं । पानी के स्रोतों बंद हो रहे हैं । ऐसे में हमारा भविष्य क्या होगा ? भारतीय जल संस्कृति ने हमारे जीवन के हर हिस्से को प्रभावित किया है ।

               हमारे लोकगीतों में वर्षा और पानी को लेकर कई गीत हैं जो हमारे जीवन में जल के साथ हमारे संबंधों को बताते हैं । ऐसे ही एक लोकगीत का वर्णन करते हुए श्यामसुंदर दुबे जी अपनी पुस्तक लोक में जल में लिखते हैं कि , “मेवाड़ की एक नारी मेवाड़ नाथ जी से कहती है कि मुझे सोना चांदी और गले में पहनने के नवलड़ी हार की चाह नहीं है । मैं तो केवल मीठे पानी पर बलिहारी जाती हूं । जिसके कारण मैंने उदयपुर में बसने का निर्णय लिया है ।’’13

“राणाजी म्है तो कइयन मांगू

सोनो नी मांगू रूपो नी मांगू

नी मांगू नवसर हार

पिछोला रो पाणी मांगू

उदियापुर रो वास ”

बिना पानी के जीवन में कैसा हाहाकार मचा है उसे बतलाने के लिए श्याम सुंदर जी ने एक और गीत का उल्लेख उदाहरण के रूप में किया है ।14 इस गीत की बानगी देखिए -

“हाली हाली बरसहू इन्नर देवता

पानी बिनु परल हुई अकाल हो रामा

चावल सूखल चांचर सूखल

सूखी गइले भईया के जिरात हो रामा

परल हे हाहाकार रे देवा

रे पानी बिनु रे

हर ले ले रोए हरवहवा रे देवा

रे पानी बिनु रे ........ ”

            इसी तरह मराठी भाषा में एक गीत बड़ा मशहूर है जिसे बच्चे बारिश की शुरुआत पर गाते हैं ।

“ये रे ये रे पावसा

तुला देतो पैसा

पैसा झाला खोटा

पाऊस आला मोठा”

               जिसका अर्थ हिंदी में यह होगा कि - वर्षा तुम आओ, आओ तुम्हें पैसा दूंगा । पैसा हो गया झूठा और बारिश जोर से या बड़ी बारिश आयी । हिंदी की बात करें तो मिरां,सूरदास और जायसी ने जल को लेकर काफी कुछ लिखा है । रहीम की यह पंक्तियां तो अक्सर सुनी जाती हैं –

रहिमन पानी राखिए, बिन पानी सब सून

पानी गए न ऊबरे, मोती मानुष चून ।

               ठीक इसी तरह मीरा की ये पंक्तियां भी बहुत प्रचलित रही हैं –

सारी बदरिया सावन की मनभावन की

सावन में उमंगों मारो मंगरी भड़क सोनिया हरि आवन की ।

                  जल संरक्षण हमारी अपनी जिंदगी से जुड़ा हुआ मुद्दा है । हम इसे नजरअंदाज नहीं कर सकते । आने वाले दिनों में परिस्थितियां और ना बिगड़े, उसके लिए यह जरूरी है कि हम लगातार इसके लिए काम करें । जितना काम करेंगे उतने ही बेहतर परिणाम मिलेंगे ।

संदर्भ सूची :

1. नीति आयोग, Composite Water Resources Management Report, may 2018 -http://www.niti.gov.in/hi .

2. वही ।

3. वही ।

4. वही ।

5. वही ।

6. भारतीय जल संस्कृति: स्वरूप आणि व्याप्ती – डॉ. रा. श्री. मोरवंचीकर, सुमेरु प्रकाशन डोंबिवली, प्रथम संस्करण 2006 । पृष्ठ संख्या – 06

7. वही । पृष्ठ संख्या – 07

8. वही । पृष्ठ संख्या – 07

9. वही । पृष्ठ संख्या – 07

10. वही । पृष्ठ संख्या – 12

11. वही । पृष्ठ संख्या – 12

12. वही । पृष्ठ संख्या – 12

13. लोक में जल - श्यामसुंदर दुबे, प्रकाशन विभाग सूचना और प्रसारण मंत्रालय, भारत सरकार. प्रथम संस्करण 2008 । पृष्ठ संख्या – 102

14. वही । पृष्ठ संख्या – 106

संदर्भ ग्रंथ :

 1. भारतीय जल संस्कृति: स्वरूप आणि व्याप्ती – डॉ. रा. श्री. मोरवंचीकर, सुमेरु प्रकाशन डोंबिवली, प्रथम संस्करण 2006

 2. लोक में जल - श्यामसुंदर दुबे, प्रकाशन विभाग सूचना और प्रसारण मंत्रालय, भारत सरकार. प्रथम संस्करण 2008

 3. आज भी खरे हैं तालाब - अनुपम मिश्र, वाणी प्रकाशन, नई दिल्ली । प्रथम संस्करण – 2009 ।

 4. नया ज्ञानोदय – फरवरी 2017, अंक – 168 ।

 5. http://www.niti.gov.in/hi

 6. http://www.who.int/water_sanitation_health/waterforlife.pdf

 7. http://www.indiaenvironmentportal.org.in/files/file/water%20in%20india.pdf


Sunday, 21 May 2023

Plays based on Historical Legends

 Plays based on Historical Legends

Dr Swati Joshi

Gujarat 

 Indian Mythology is most of the time represented by the Mahabharata, and the Ramayana and other mythological works. It can be said that Indian mythology can be represented in its most excellent way through dramas or plays. In Indian tradition drama is seen as the representation of human emotions, sentiments and nature. The wonderful example of combination of drama and Indian mythology is the plays of Bhasa. Bhasa has not only written the plays which are based on Indian Mythology but also he has taken the base from the historical background. Like plays based on Indian Mythology the historical plays of Bhasa have unique identity and performance in the world of dramas.

As Nietzsche says,

“History is necessary to the living man in three different ways; in relation to his action and struggle, his conservatism and relevance, his suffering and his desire for deliverance.”1

 Bhasa has shown acquaintances to the History of India. Bhasa has tried to weave the story of legendary shapes having relation with various periods of history of India. Bhasa’s plays which are based on history can be seen on the contemporary ground.

 Indian people believe in myths and mythology to understand the previous life and system. But I think history is also important part to understand the past of our nation.

“Myths are very important to the people of India. While Westerners might look to their history to learn who they were the people of India looked to their Myths.”2

 The historical plays of Bhasa have done wonderful work as the two plays of Bhasa The Minister’s Vow and The Vision of Vasavdatta are the combination of History of India as well as it also somewhere has the touch of Indian myths. My work would be to see these two plays having the impression of play taken from historical background with India Myths and how these plays can be re interpretate with the contemporary context. Two plays have been based on History but Bhasa has introduced some necessary changes to present it with a different perspective. It can be said that the narratives are mythical but the plot or story is historical. My work tries to find out the historical and mythical relevance in the contemporary context.

The play which is based on Historical Background are-

1 Pratijna- Yougandharayana (The Minister’s Vow)

2 Svapna-Vasavadattam (The Vision of Vasavadatta)

 These two plays are interrelated with each other. It can be said that The Minister’s Vow is the first part of historical event and The Vision of Vasavadatta is the second part of it. All most all the characters are same but perform in different ways in both the plays. It would be surprise to know that the chief character of both the plays Udayana does not appear in The Minister’s Vow, even another prominent character Vasavadatta is not seen in The Minister’s Vow. But we know about these characters through the description about them by other characters. The method of representation shows the mastery of the Bhasa who is at his most excellent point when he was writing these two plays. Like other plays as The Karna’s Task, The Broken Thighs there is again a common feature can be seen which is repented differently the situation of War and the struggle to come out form this situation. Here it can be said that there is no direct description of war. Like other plays of Bhasa these two plays are also based on politics and power with some individual emotions of love, care, skills, dedication, politics and conspiracy. These two plays are completely based on the conflict of power politics and love. The central active character can be seen in the character of Yougandharayana. The female characters which emerge as the back bone of the play is Vasavadatta and Padmavati. The Vision of Vasavadatta is completely based on the character of Vasavadatta and Padmavati. The Minister’s Vow is completely based on Yougandharayana.

 Bhasa is considered as the author who presents reality of the society through his characters and events and these events and characters are long lasting and forever. These characters can be easily seen with the contemporary context also. Bhasa has given equal importance to his minor characters as he has given to major characters. Bhasa is brilliant in his work to combine these characters together.

“ The huge output also means that he created a larger range of characters than any other, while his major characters are indeed unforgettable what is marvelous is the way he brings to life minor characters in a few deft strokes of his pen.”3

 It can be said that Bhasa is genius not only in representing the mythological characters and events but also in representing historical characters and events also.

Dr Swati Joshi

Gujarat 

Relevance of The Statue Play in the Contemporary Context

 Relevance of The Statue Play in the Contemporary Context

Dr Swati Joshi

Gujarat 

 1 There is a mythical concept of statue that every statue symbolizes something or says something without voice and language. The statue stands for self identity. The statue says an introduction to our self, present - past condition and become immortal in the mind of the spectator. In contemporary world we always try to see or try to do study of the description of the statue. Every statue talks about its culture, religion, folk, past ongoing rituals, emotions, feelings, symbolism, mythical concept, belief, acceptance of people who consider the statue valuable, ethics, philosophy, morality, creativity, history, brevity, statue provide social messages, art, statue is also a symbol of respect etc. For example the statue of Liberty that symbolizes freedom, the statue of Unity in India which is the symbol of unity and Christ the Redeemer - a symbol of peace. The statue means a silent message without saying a single word. The most notable characteristic of any statue is the surrounding place where it is situated. The location enhances value of statue or it can be said that surrounding location helps to find out the message of the statue. The concept of Statue can be seen mythically as well as with contemporary time.

According to Ellen Russell Emerson,

“The Indian symbols are as, as has been shown like those of the older eastern races. Statue and hieroglyphics of the most ancient character, the purpose and meaning of which have been heretofore unknown, are those whose resemblance to the device of the Indians is the most complete.”67

 The Statue of Dashrath symbolizes the death of Dashrath but it is not only the statue that symbolizes death but it is the location or place where all the statues of the family are put. The statue of Dashrath if put on other place of the palace then it is not identical or understood properly, it may be considered that it is for the representation of the glory of the king, but in contrast to it if the statue is place in statue gallery that clearly indicated that the statue symbolizes the death of the king. So it can be said that statue has its symbolic meaning when it has proper surrounding identical place to put. In contemporary modern times also we have many statues that speak without language and its language is its location or place, purpose and history.

According to Jungian theory-

“Archetype is a primitive mental image inherited from the earliest human ancestors and supposed to be present in the collective conscious.”68

 The Statue Play can be seen from the archetypal view point. For example there is a description of bark dress which is with Sita and she considered it as unlucky. The consecration of Rama has been cancelled and the bark dress is responsible for that. Here the lucky, unlucky, omen, bad omen, good omen, all these things are inherited from our ancestors that collect in our unconscious mind.

“Sita- No, no don’t say that. It’s unlucky.

Rama- why do you stop me lady?

Sita- Just when my Lord’s consecration has been broken off. It seems to me unlucky.”69

 There is a mythical concept of omen and symbols, lucky and unlucky. There are many examples as- crow, dog, cat, sneezing, snake, peacock, eagle, etc. Even these omens of lucky – unlucky concept prevail in the contemporary society. People blindly follow this concept without thinking logically and scientifically.

 2 The Statue Play’s turning point is here when there is a description of curse of one on Dashrath that he will feel grief for his son, and then Bharat consider Kaikai’s explanation. As we all know that there is a mythical concept of curse in almost most of mythologies or the Epics. The curse section becomes very important to do drastic change or to destroy the evil.

According to James Lochtfeld,

“In Hindu mythology, one of the standard devices either to advance the story’s plot or to account for some inexorable event is curse. Such curses are often the work of sages and other spiritual adepts, but they can also be levied by any person who has perfectly fulfilled his or her social role such as a faithful wife, loving son or devoted parents. Making a curse expends the spiritual powers that a person has accumulated. At last in mythical tales, such curses invariably come true no matter what a person might do to try to prevent them.”70

 The curse on Dashrath makes Kaikai to demand the fourteen years exile of Rama in the forest. This mythical concept symbolizes that curse is responsible for everything and here in the case of Kaikeyi, she is not guilty but just to make the curse true she become the medium of it. We have many examples as Durvasa Rishi curses Shakuntala that his love will not remember her, Bhrigu Rishi’s curses Vishnu that Vishnu will be born on earth many time and will suffer, Karna is being cursed by Parshuram that he will not remember his knowledge of Brahmastra whenever he will be in great need, Arjuna is being cursed by Urmila that for one year he will be a castrated human male, even Krishna is being cursed by Gandhari that he will die as an ordinary person and his family will finish completely, Ravana is being cursed by Rambha that whenever he will touch a woman (sati) without her permission he will lose all his ten heads immediately, Four Kumars curses Jaya and Vijaya that they both will take birth on the earth as the enemy of Vishnu as they birth on the earth as Hiranyakashypa, Hiranyaksha, Ravana and Kumbhakarna, Dantavakara, and shishupala, Pandu is being curse by Rishi Kindama as he disturb him during the time of intimacy and shoot him by his arrow. Kindama curses Pandu that when he will do intimacy with a woman he will also die, Bhrigu has given curse to Brahma that he will not be worshiped in Kalyug and also given curse on Shiva and Parvati that they will be worshiped in form of Linga, Goddess Lakshmi has given curse on Bhrigu that no Brahmin will be having rich and luxuries life but a remedy is also given by Lakshmi that the worship of Vishnu made them to live prosperous life, Mahisasur is cursed by sage Katyani that he will die by woman and then Goddess Durga killed him, Ram is cursed by Tara the wife of Bali that he will also lose his wife and in Rama’s next birth Rama will be killed by Bali (Krishna is the next birth of Rama and Hunter who has killed Krishna is the next birth of Bali, Shravankumar’s parents curses Dashrath that he will also suffer for his son, Rishi Gautam curses Ahilya for having affair with Indra and turned her into stone but later she become free by Rama and even Indra is cursed by Rishi Gautam to have one thousand womanly Vagina but later converted into one thousand eyes, There is a curse on Hanuman that he will forget all his powers and others has to make him remember about his ability, Krishna curse on Ashwathama to live forever etc…

 All these are the example of curse which represents that if you will do wrong then you will be punished but if you feel that you are guilty and wanted to feel a sense of regret then there will be an alternative of curses which reduces the portion of curses. The other side of curse that curses is given to destroy the evil for example Goddess Durga killed Mahisasur, the curse of king Dashratha and then the exile of Rama, Rama’s exile brought the death of Ravan, so it can be said that every curse has interwoven activity which somewhere to give the moral message for the society that if you will do wrong then you will be punished in form of curse and curse is used as a means for the destruction of evil.

 When one tries to see the mythical concept of curse with the contemporary society then the purpose and meaning of curse which we have seen in mythical concept has completely changes. In contemporary society we don’t have power to curse or we don’t have right to punish to anyone, but still we have archetypes concept of curse and we want to use it. But in modern time we give or use curse because we have some personal issues with the person, the curse is not for the breaking of rules or morality or ethics. We take curse personally but as we all know we do not have power to make the curse true or effective, then in contemporary society humans hold the curse power in their hand and become ready to punish physically. The curse resulted into different emotions, sentiments, feeling as anger, killing, rape, acid attack, fraud, terrorist and terrorism, honor killing, cheating, mental physical harassment, etc…

 In contemporary world we have still with us the mythological concept of curse but its applications and uses has changes and turned into negative direction which brings only the killing activity of humanity where the curse giver or creator itself become unknowingly victim and harassment can be seen on others. We have to understand that we are not pure like sages of mythological world and even we do not have any good intention as the previous curses have. It will not be exaggerate to say that the contemporary world is in a continuous process to read myths, folk tales, and epic but the real and exact meaning or message are not readable by modern society people. Scientifically, philosophically and logically again we have to see the mythological concept and utilize it accordingly.

 3 The character of Kaikai, Sita and Urmila can be seen with the contemporary society because there is also a mythical concept of wife in Indian society. It is believed that a woman is considered as a woman and wife when she is ready to sacrifice and be a mute animal only and cries.

Woman- Wife- Mother = Sacrifice, love and care, crying

Woman – wife- Mother- not demanding, always mute and not expressive

According to A.K.Kunjakkan,

“The image and individuality of Indian womanhood are embedded and clearly laid down at the bottom of traditional belief and mythology. This is the basis of the status of women in India”71

 We always seen woman as wife, sister and mother and in so many sacrificial role. We all are having archetype image of a woman where we try to see woman in different roles but not as human. Being human woman is also having some requirements, demands, wishes, desires, and rights but from the mythical concept to the contemporary world we see only responsibility and characteristics of a wife, mother and many relations only. If she demands then she will be considered as wicked as Kaikeyi, but why we have only one perspective to see the category of wife. If a woman need something or wanted to do something then she is not good, for example- even in contemporary world if she wanted to take divorce or already divorced then everybody will look at her as she has committed a murder or a characterless woman. Man and Woman both are in one category and the first category is that they both are humans first. Why we have to categorize that woman is like this and man is like this only. This is again an archetype which inherited in the mind by our ancestors and still with us as store form in our unconscious mind. We are not ready to accept the change or new perspective. In The Statue Play we have three different examples of women.

 1 Sita- She decided to go with the Rama for the exile for fourteen years, if she will not go then she will not be considered as good wife, and just to maintain this image she has to go to the forest with Rama and also she become the part of the curse and medium to kill Ravana. Everywhere Sita plays the important part but we all give credit to Rama only at last she has to prove herself as Sati or Pavitra and again has to leave Rama. At last only woman has to suffer.

 2 Urmila- She also sacrifices for her husband Lakshman, she is not going with her husband because she will be at palace and will take care of everything. No one is bother about her wishes. She also sacrifices as she lives lonely without Lakshmana for fourteen years. She is also considered as good wife.

 3 Kaikieyi- Kaikeyi demanded something for his son then she is not good. She become notorious in the Indian Society that as a woman she has done wrong to Rama but on the other hand it is considered that she has done it because Dashrath has curse on him that he will suffer for his son, and Kaikeyi become the medium to fulfill the curse. In both the ways she is responsible for everything. But here I have only one question that being woman was she not having right to demand something from her husband? Even in the contemporary society a woman does not have right to say something, demand something or to be vocal. Education can bring change but even we are not in favor to educate woman and still we have the same mentality as-

“Ram School Jata he, Sita Ghar me kam karti he.”

 In spite of that we have to work on archetypes as it is the high time to change as

“ Ram and Sita both go to school.”

 Another example of contemporary society which is related with a woman is crying is just meant for woman. If a woman is not crying and ready to face the situation then we receive the comment that she is not a woman, she is abnormal, and if a woman is strong can fight for herself then she is not good for marriage or she is not marriage material. Even in the contemporary society most of the people think that my wife should be beautiful, polite and must be able to take care of my family. But there are very few people in contemporary world who think that I want educated, confident and independent wife. The reason behind the narrow thinking of women is due to archetypes where we abide by the previous thought which store in our unconscious mind. Second important point to discuss is that if a man will cry then from the past time to present time people will say a permanent dialogue that- “Why you cry like a girl or woman?”

 But we see only one aspect of woman in Indian mythology another aspect is that all the goddess are represented as powerful woman as Durga, Lakshmi and Saraswati, but in contemporary society we fails to find out the powers of woman, and only grasp the negativity and just follow the blind myth for woman even in contemporary society.

According to Kunjakkan,

The Indian woman names after the names of various Goddesses as Devi signifying the veneration and respect bestowed on them by men……this is one of the image of Indian women. But the virtue, virginity chastity is the other womanly qualities of Indian concept of virtue women, who deserve to be worshipped. Only virtuous women who stand comparison to Devis or Goddesses alone are worshipped and venerated. All women are not worshipped only because a woman is a woman. She is not worthy to be worshipped. If she deserve respect and posses worshipful character then she is considered as goddess among women in India. Hence the feminist allegation that the people country who worship women in stone as Goddess, ill treat in the reality and abuse women in flesh and blood is baseless. The women in the street and the prostitute cannot be worshipped. They do not have the ‘womanly qualities’ as per Indian tradition of virtuous women to deserve to be worshipped”72

 4 We have Indian philosophy and tradition that we spend most of the time or half of the life for the betterment of family. In The Statue Play Rama sacrifices everything for family, Sita and Urmila sacrifices for their husbands, Lakshman and Bharat both sacrifices for their brother Rama, Kaushlaya and Sumitra stands in support with King Dashratha and at last even sacrifices the life of her husband. Every character sacrifices in this mythical concept of family. But in contemporary world or society especially in Indian society, no one is ready to do sacrifice for the family. Even the situation is become worst that we do not have time for our family then the sacrifice is totally stands opposite. We do not give respect to our parents, elders and send them to old age home. Sacrifice the world has great meaning but lost in contemporary world.

“Arthashastra notes that the Dharma of the head of the family is to sacrifices his own pleasures for the sake of the family members. It is the general norms in the Indian families that parents sacrifices their lives for children and later when the children grow they take care of their elders….. and when the family head died in such cases lot of sacrifices is involved and the elder one takes it as their duty and generally do not consider it as it a sacrifice.”73

 5 King Dashrath sacrifices his son Rama for the sake of oath ‘Vachana’ given to his wife Kaikeyi. He sacrifices his life for an oath. It is a mythical concept to give Vachana (oath), boon or curse. One has to stick to it till his life and has to face whatever the condition is. But in contemporary society no one is ready to stick to his Vachan and no one follow the concept of “Pran Jaye par Vachan na Jaye” The reason behind is that in contemporary world we have lose our determination power and change ourselves according to the situation. We are not ready to fight with the situation but we mold according to the situation. To be flexible according to situation is consider as good now a days in contemporary world but to stick to oath is very difficult for contemporary society humans.

“The King is almost mad with grief at this request but being bound by word and oath is compelled to comply.”

“If thou refuse thy promise sworn,

I die despised before the morn.”74

 In the future generation we do not have this mythical concept to stick to oath and follow till the death. But oath or Vachan can work as positive and negative. Just to take oath is not important; the oath should be betterment for the others. It is important to know the importance of positive and negative oath. For that we need discipline but in contemporary world there is no utilization of the world discipline.

 The Statue Play is having beautiful narration and characterization which is still related with the contemporary world. We just need identical and analytical eyes and mind to see the message and beauty of the mythological concept of the play and its relevance with the contemporary society.

Dr Swati Joshi

Gujarat 


Plot Construction of The Statue Play (Pratimanatakam)

 Plot Construction  of The Statue Play (Pratimanatakam)

Dr Swati Joshi

Gujarat 

The Play begins with the stage manager who as the same pattern of Bhasa prays to God- 

“May the Fortune of the Furrow guard us, he that is pleased with lovely verses, charming with his beauteous neck, and every auspicious mark; the supporter whose soul inspireth awe, matchless foe of him that made the goddess cry, may he protect us in every birth.”62 

The play begins with the description of preparation which is going on for the consecration of Rama by all his family members. Then on the other part of play there is a description of Sita who tries to wear bark dress given by her maid. Bhasa has given hint by the scene that soon there will be troubles in the life of Sita. This is again mythical concept of symbols. Then in the next scene Rama come to see Sita and declare that his consecration is cancel. The reason of his cancelation of his consecration is his mother Kaikeyi but Rama being good son does not considered that she is responsible for that as chamberlain believe that Kaikeyi is the cause of the cancelation of consecration. At that time Lakshman come in an angry mood and Rama tries to alleviate him. At last in act one the decision is taken by Sita and Lakshmana that they both will go with Rama for fourteen years in the forest. 

In Act two of the play there is a description of king Dashratha who is in woe because he has to give exile to his loveable son Ram, Lakshmana and Sita. His wives Kausalya and Sumitra try to console him. 

“Alas! My child! Rama! Delight of the eyes of all the worlds. Oh, Lakshmana, my child! Whose every limb bears auspicious marks. Oh, virtuous lady of Mithila with heart devoted to thy lord! Alas, alas, they have gone. Gone, woe is me, to the forest. My own children.”63 

King Dashratha was not able to bear the pain, loses consciousness and dies. His death shocks everybody. Ram, Sita and Lakshman have already gone for exile and do not know about the death of his father.

Third act deals with the glimpse of Statue gallery.  Bharat son of King Dashratha and Kaikeyi does not know about the death of his father because he resides with his uncle. After sometime he returns to Ayodhya without knowing anything about the whole situation. But the charioteer knows everything. The Charioteer was not having capacity to tell about three serious matter; first the death of father, second Kaikeyi’s demand to give kingship to his son Bharat and third the exile of Ram, Sita and Lakshman for fourteen years. Soon the charioteer takes Bharat to sculpture gallery that seems akin to temple. The Sculpture gallery is the symbol of great warriors of  Ikshvaku clan who passed away. The names are also given in this act as Dilipa, Raghu, Aja, his forefathers and grandfather. When Bharat was visiting the statue gallery then suddenly he sees the statue of his father but he tries to ignore. Soon after this incident the three queens of King Dashrath come there and make Bharat believe that his father is no more and the statue in gallery symbolizes his death. After listing this Bharat become restless and shows eagerness to know everything. After knowing everything he curses his own mother Kaikeyi. Kaikeyi tries to explain but Bharat refuses to listen. Bharat takes the decision to go back and bring Rama, Sita and Lakshmana from the forest and to break the exile pledge. 

In the next act Bharata goes to visit Rama in the forest and requests him to come back to Ayodhya and be the king. But Rama convinces him that they will not come because it is a tribute to his father. At last Bharata has no option and then he demands Rama’s sandals to keep on the chair of King. Soon Bharat come back to Ayodhya. 

The fifth act describes the conversation between Rama and Sita about the rituals which will be done for his father’s memory. Then there is an entry of Ravana, king of Lanka who disguise himself and give indication to Rama that there is a golden deer in the Himalaya which is unusual. Then Rama becomes ready to chase the deer and with the help of magic of illusion Ravana created deer. Rama become busy in chasing the deer and Ravana takes the opportunity of it and takes away Sita by slaughtering Jatayu. 

Sixth act deals with the battle view between Ravana and the Jatayu describe by two old men. Then soon the act part changed to Ayodhya where Sumantra gives the news to Bharat that Sita is kidnapped by Ravana. Bharat become angry and once again blame his own mother Kaikeyi that she is the only responsible woman for all horrible incidents. Kaikeyi tries to explain but Bharat does not want to listen anything and curses her. After many struggles Bharat come to know that someone has given curse on his father that Dashrath (his father) will take his last breath in pain for his sons.

“That sooth- speaking sage when he made an end of weeping declared, ‘Like me, sir, shalt thou perish through grief for thy son.”64 

Rama’s exile is because of the curse and not because of his mother Kaikai or her demand for supremacy. Then Kaikai tries to explain Bharat. But Bharat said that fourteen year is a long time then she explains. 

“Oh, my child, it was fourteen days I meant to say, but in the confusion of my mind the fourteen years slipped out.”65 

After getting this explanation Bharat is somewhere satisfied and tries to conquer Ravana. 

The seventh act depicts the killing of Ravana and the arrival of Rama with Sita to the kingdom. Bharat was eagerly waiting for Rama and Sita to welcome them with huge army and cleric to bless Rama and to give his kingdom back. Rama consecrated at last and the end come with the blessing and congratulating chorus song. 

“As Rama was united with Janaka’s daughter and his kin, so may our king rule the earth in conjunction with the goddess of beauty and prosperity”66 

Dr Swati Joshi
Gujarat 

अमरकांत : जन्म शताब्दी वर्ष

          अमरकांत : जन्म शताब्दी वर्ष डॉ. मनीष कुमार मिश्रा प्रभारी – हिन्दी विभाग के एम अग्रवाल कॉलेज , कल्याण पश्चिम महार...