Bramhacharyashram

This Jain text, "Brahmacharya Ashram" by Kanaiyalal Munshi, is a satirical play or "prasana" written in Gujarati during the author's imprisonment in Chorada Jail in 1930. The preface reveals that the play is a humorous take on serious and beautiful subjects, even poking fun at figures like Mahatma Gandhi and the author's own father. Munshi justifies this by stating the necessity of humor in literature and how the isolation of jail often inspires it.

The play features a cast of characters who are prisoners in an 'A' class jail yard. They are all participants in the civil disobedience movement. The central theme revolves around the concept of Brahmacharya (celibacy or continence) and its interpretation and practice amidst the harsh realities of prison life and individual desires.

Act One sets the scene in the jail yard where prisoners like Nareottam (a barrister), Muralidhar Pandit (a lawyer), Gangadas Seth (a businessman), and Chhotubhai (a professor) express their frustrations with jail life: delayed letters from loved ones, the restrictions on meeting visitors, and the lack of basic amenities. Motabhai, a wealthy businessman, arrives and is particularly shocked by the poor living conditions, expecting special treatment due to his status. The characters' conversations reveal their anxieties about their families and their commitment to the cause, often contrasted with their personal comforts and desires. Dr. Madhubhai arrives and introduces his theory of Brahmacharya as a scientific path to immortality and physical perfection. He proposes that by mentally detaching from women, one can achieve this goal. While some characters are intrigued, others, like Motabhai, are skeptical and dismissive.

Act Two shifts to a Brahmacharya Ashram located near Chanded, ten months later. The characters, now supposedly embodying the principles of Brahmacharya, are seen engaged in various activities. Nareottam feels like a "Greek god," and Motabhai claims to have stopped his wife's salary, aspiring for immortality. However, the play quickly reveals the underlying struggles and hypocrisy. The characters face practical difficulties like the lack of cooking facilities and food. Motabhai is particularly concerned about hunger, contrasting it with his pursuit of Brahmacharya. When a village girl, Pemli (also called Mily), arrives to cook for them, the characters' supposed Brahmacharya is tested. Motabhai tries to flirt with Pemli, Nareottam gets possessive, and Gangadas and Muralidhar seem to be drawn to her. Even the seemingly devout Gulabchand and Bhagwandas are depicted as having their own interpretations and struggles with the concept. Dr. Madhubhai's initial confidence wanes as he struggles with practicalities and the inability of his disciples to fully adhere to his strict interpretation of Brahmacharya. The act ends with a sense of disillusionment and chaos, as the characters' true natures and desires surface.

Act Three continues in the Brahmacharya Ashram, highlighting the growing cracks in the facade of celibacy and discipline. Motabhai attempts to manipulate Pemli, Nareottam gets into physical altercations with Bhagwandas and Motabhai over Pemli, and Muralidhar Pandit decides to leave the Ashram due to the "bad atmosphere" and his wife's loneliness. Gangadas and Gulabchand also express their dissatisfaction with the spiritual development and the inappropriate behavior within the Ashram. Dr. Madhubhai's philosophy of Brahmacharya begins to crumble under the weight of human desires and practical realities. Chhotubhai's sudden desire to dedicate his life to village service signifies a shift away from Madhubhai's teachings. The act ends with the departure of several key characters, leaving Dr. Madhubhai in despair, his dream of Brahmacharya Ashram in ruins.

Act Four shows the aftermath of the characters' departures. Nareottam and Pemli are seen organizing books in the study room, with Nareottam exhibiting possessiveness towards Pemli. Gangadas and Muralidhar Pandit are shown to have left, finding the Ashram's environment detrimental to their supposed spiritual growth and personal lives. Gulabchand also decides to leave, disillusioned by the hypocrisy he witnessed. Motabhai's attempts to woo Pemli are met with her strong resistance and a physical confrontation, leading to his humiliation. Dr. Madhubhai, witnessing the disintegration of his Ashram and the failure of his ideals, breaks down in despair. The play concludes with a bleak outlook on the practical implementation of extreme asceticism amidst human frailties, suggesting that the pursuit of such ideals in isolation from genuine spiritual effort can lead to hypocrisy and further disillusionment.

In essence, "Brahmacharya Ashram" is a sharp critique of the superficial adoption of strict religious practices without genuine inner transformation. It humorously exposes the gap between lofty ideals and human nature, particularly the persistent influence of desires and social conditioning even in an environment supposedly dedicated to spiritual discipline. The play suggests that the true path lies not in rigid adherence to external rules but in sincere introspection and a balanced approach to life.