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 

Relevance of The Middle one in the Contemporary Context

 Relevance of The Middle one in the Contemporary Context

Dr Swati Joshi 

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

Relevance

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

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

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

Relevance

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

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

Relevance

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

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

Relevance

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

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

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

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

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

1 Catholic Church 

2 Terrorism and terrorist 

3 Caste issue and religious issue 

4 Divorces and Marriage 

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

Relevance

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

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

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

“Hidimba- Idiot! He is our God. 

Ghatotkacha- Who’s God?

Hidimba- Yours and Mine!”61  

Relevance

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

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

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

1 Pratima Natakam (The Statue Play)

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

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

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

Dr Swati Joshi

Gujarat 

Madhyama- Vyayoga (The Middle One)

 Madhyama- Vyayoga (The Middle One)

Dr Swati Joshi 

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

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

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

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

Plot Construction of The Middle One (Madhyama- Vyayoga)

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

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

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

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

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

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

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

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

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

“The ascetic unfortunate middle one.”56

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

“He is a deity of yours and mine.”57

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

Dr Swati Joshi

Gujarat 

Karna’s Psychosis

 Karna’s Psychosis 

Dr Swati Joshi 

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

      “Ati ka bhala na bolna

Ati ki Bhali na chup

  Ati ki bhala na barasna

Ati ki bhali na dhup”

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

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

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

2 Salya-

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

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

Dr Swati Joshi

Gujarat 

हिंदी साहित्य की महत्त्वपूर्ण पत्रिकाएं

 पत्रिकाओं/सम्पादकों के ई -मेल

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6. समयांतर- पंकज बिष्ट (संपादक)- samayantar.monthly@gmail.com, samayantar@yahoo.com

7. लमही- विजय राय (संपादक)- vijayrai.lamahi@gmail.com

8. पक्षधर- विनोद तिवारी (संपादक)- pakshdharwarta@gmail.com

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14. बनासजन- पल्लव (संपादक)- banaasjan@gmail.com

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52. सृजन सरोकार (हिंदी त्रैमासिक पत्रिका), गोपाल रंजन (संपादक), srijansarokar@gmail.com, granjan234@gmail.com 

53. उर्वशी, डा राजेश श्रीवास्तव (संपादक), urvashipatrika@gmail.com 

54. साखी (त्रैमासिक), सदानंद शाही (संपादक), shakhee@gmail.com

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56. साहित्य यात्रा, डॉ कलानाथ मिश्र (संपादक), sahityayatra@gmail.com

57. भिंसर, विजय यादव (संपादक), vijayyadav81287@gmail.com

58. सद्भावना दर्पण, गिरीश पंकज (संपादक), girishpankaj1@gmail.com

59. सृजनलोक, संतोष श्रेयांस (संपादक), srijanlok@gmail.com

60. समय मीमांसा, अभिनव प्रकाश (संपादक), editor.samaymimansa@gmail.com

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

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

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

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

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

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

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

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

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

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

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

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

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84. आधारशिला (मासिक), संपादक- दिवाकर भट्ट, adharshila.prakashan@gmail.com, editor.adharshila@gmail.com

85. प्रेरणा-अंशु (राष्ट्रीय मासिक), संपादक- प्रताप सिंह, prernaanshu@gmail.com

86. युवादृष्टि (मासिक), संपादक- बी सी जैन, suggestion.abtyp@gmail.com, abtypyd@gmail.com

87. संवदिया(सर्जनात्मक साहित्यिक त्रैमासिकी), संपादक- अनीता पंडित, प्रधान संपादक- मांगन मिश्र'मार्तण्ड', samvadiapatrika@yahoo.com

88. सोच विचार, संपादक-डॉ. जितेन्द्र नाथ मिश्र, sochvicharpatrika@gmail.com

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

90. पतहर तिमाही, संपादक-विभूति नारायण ओझा, hindipatahar@gmail.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

107."समकालीन त्रिवेणी" सम्पादक-अखिलेश श्रीवास्तव 'चमन  trivenisevanyas@gmail.com

108  ' शब्दिता ' ;  प्रधान संपादक- डॉ राम कठिन सिंह:  rksingh.neford @gmail.com

109  साहित्‍य विमर्श,सम्पादक-एम एम चन्द्रा . Editordpb17@gmail.com

110  लेखन' पत्रिका,संपादक-मोती लाल

प्रयागराज,उ प्र

motilal379@rediffmail.com

111.अखिल गीत शोध दृष्टि सम्पादक :डॉ0 गीता सिंह

shodhdrishti@gmail. com

9415082614

112 देस हरियाणा  haryanades@gmail.com

113 युगतेवर drrskni,@gmail.com

114  इंडिया इनसाइड

संपादक- अरुण सिंह

editor.indiainside@gmail.com

gmindiainside@gmail.com

115  गांव के लोग-रामजी यादव gaonkelogbsb@gmail.com

116  "शब्दसृष्टि" (हिंदी-मराठी द्विभाषिक पत्रिका), संपादक : डा. मनोहर

shabdasrishti@gmail.com

117।अमर अक्षरा त्रिमासिक, विजयवाड़ा। आंध्र प्रदेश। संपादक। डॉ पेरि सेट्टी श्रीनिवासराव।09989242343। ईमेल। srperisetti@gmail.com

118।   "समकालीन त्रिवेणी" trivenisevanyas@gmail.com

119   साहित्‍य विमर्श... Editordpb17@gmail.com

120।   समकालीन चुनौती ,सुरेन्द्र प्रसाद सुमन [संपादक ],ISSN 2231-1955 

spsuman.chunauti@gmail.com

121

"बिहिन" (कुड़मालि-हिन्दी पत्रिका),  झारखंड

संपादक - तारकेश्वर महतो "गरीब"

patrikabihin@gmail.com