Dropadi Swayamvaram

This Jain text, "Dropadi Swayamvaram" by Mahakavi Vijayapal, edited by Muni Jinvijay and Prof. Dr. Shantiprasad M. Pandya, is a Sanskrit drama focused on the story of Draupadi's svayamvara (self-choice of a husband). The second edition, published in 1993 by the Smriti Sanskar Shikshannidhi in Ahmedabad, aims to make this historical literary work accessible to a wider audience.

Here's a comprehensive summary of the text:

Publisher and Context: The publication is dedicated to Muni Jinavijay, a researcher of Jain manuscripts. It highlights the value of Sanskrit, Prakrit, and Apabhramsha literature preserved in Jain libraries. This edition is a reissue of a 1918 publication by Muni Jinavijay, made possible by the Kalikal Sarvagya Shri Hemchandracharya Navam Janmashatabdi Smriti Sanskar Shikshannidhi, Ahmedabad, with the permission of the Shri Jain Anand Sabha, Bhavnagar.

Author and Lineage: The drama is attributed to Mahakavi Vijayapal, a poet from Gujarat in the 13th century CE. While little is known about Vijayapal's personal life, his lineage is well-documented. His grandfather, Shripal, and father, Siddhpal, were also esteemed poets and respected householders who held prominent positions in the courts of Siddharaj Jaysinh and Kumarpal. The family, of Praguat (Porwad) Vaishya origin, was known for its scholarship and patronage of Jainism, with evidence of their support for Jain temples and vasatis (monasteries). The text delves into the historical and literary significance of this poetic family, tracing their influence and patronage.

Historical and Religious Affiliation: A significant portion of the preface and introductory chapters discusses the religious affiliation of Vijayapal and his ancestors. Based on the nandi shlokas (invocation verses) in the drama and the inscriptions of Shripal, the author Prof. Dr. S. M. Pandya strongly suggests that Vijayapal and his forebears were likely Hindu by faith, despite their connections to Jainism and the flourishing of Jain culture during their time. The nandi shlokas invoke Hindu deities like Shiva and Vishnu, and Shripal's inscriptions also reflect deep reverence for Hindu deities and Brahmanical traditions. The author argues against automatically classifying the family as Jain solely based on their Praguat lineage, as not all Praguats were adherents of Jainism.

The Drama: "Draupadi Swayamvaram" The drama itself is divided into two ankas (acts) and dramatizes the epic event of Draupadi's svayamvara.

• Act I: The Setup and the Challenge

  • Invocation (Nandi Shlokas): The play begins with verses honoring Lord Shiva and Lord Vishnu, establishing a context that leans towards Hindu traditions.
  • Sutradhara's Introduction: The Sutradhara (stage manager) announces the king's command to stage this drama, highlighting its popularity in Ahilpur (Anahilapur) and its performance during the Vasantotsava festival at the Trivishnu Prasad.
  • The Conflict: A Pariparsvika (attendant) expresses concern about other troupes performing the same play. The Sutradhara dismisses this, emphasizing the original play's superiority.
  • Krishna's Plan: Krishna appears and reveals his plan to orchestrate the svayamvara to favor the Pandavas. He instructs Bhima to go to Karna and obtain two of the divine arrows gifted by Parashurama, which are capable of hitting the target.
  • Bhima's Request from Karna: Bhima, disguised as a Brahmin, approaches Karna. Karna, renowned for his generosity, readily agrees to Bhima's request for the arrows, showcasing his charitable nature. The dialogue between Karna and the disguised Bhima is highlighted for its poetic quality and dramatic effect.
  • The Target and the Challenge: Krishna explains the challenge: to hit the eye of a fish moving in a circle while looking at its reflection in an oil-filled pot. He elaborates on the divine rewards for the victor.
  • Failed Attempts: The drama depicts the attempts of various kings, including Duryodhana, Duhshasana, Shakuni, Drona, and finally Karna. Krishna, through his divine powers, frustrates each attempt, making them fail in various comical or disastrous ways. This part showcases Krishna's strategic brilliance and his support for the Pandavas.
  • Arjuna's Success: Finally, Arjuna, still in disguise, steps forward. He expresses his vow to win Draupadi only if his vows of Kshatriya dharma and devotion to his guru are met. He successfully lifts the divine bow and shoots the target, hitting the fish's eye.
  • The Royal Outcry: The kings protest, arguing that a Brahmin cannot claim Draupadi and that the svayamvara should proceed based on Draupadi's choice. Krishna agrees to this, suggesting it's also a test of Draupadi's affection.
  • End of Act I: The act concludes with the preparation for the svayamvara itself.

• Act II: The Choice and Conclusion

  • Draupadi's Appearance: Draupadi, adorned and escorted by her sakhi (friend), enters the assembly. She feels shy under the gaze of the assembled kings.
  • Draupadi's Disdain: Draupadi rejects several prominent kings, including Duryodhana, Karna, Duhshasana, Shakuni, and Shishupala, citing their flaws or character. Her rejections are accompanied by her sakhis identifying the kings.
  • Draupadi's Affection for Arjuna: Draupadi's attention is drawn to Arjuna. She expresses her admiration for his appearance and his skill, stating that his hand, accustomed to drawing the bowstring, might one day hold her hand. Her internal monologue reveals her attraction.
  • Arjuna's Response: Arjuna, sensing Draupadi's feelings, is moved by her gaze.
  • The Garlanding: Draupadi chooses Arjuna, placing the svayamvara garland around his neck. This event is celebrated by the gods. Krishna expresses satisfaction, stating that the svayamvara has also tested Draupadi's love.
  • The Grand Finale: The drama concludes with Krishna's blessings for the welfare of the world, the rise of righteousness, and the downfall of the wicked, and with a final blessing for prosperity and virtue.

Modifications from the Mahabharata: The text highlights the playwright's deviations from the original Mahabharata narrative. The most significant is the central role given to Krishna in orchestrating events, whereas in the epic, his role is more that of an observer and advisor. The playwright has also added the episode of Bhima requesting arrows from Karna, drawing inspiration from the Karna-Kavach-Kundala incident. The complexity of the archery challenge has been amplified by incorporating elements from the Ramayana's Sita svayamvara (Shiva's bow) and the Mahabharata's description of hitting the target. Krishna's magical interventions to ensure Arjuna's success and the subsequent disagreement among kings are also dramatized in a unique way. The play also aims to show that Draupadi was drawn to Arjuna not just by his martial prowess but also by his character and, perhaps, his divine nature (as a Nara-Narayana avatar).

Literary and Dramatic Analysis: The author analyzes the play's literary merit, noting its smooth language and the playwright's skill in composing dialogues, particularly the samvadatmaka shlokas (dialogue verses). While acknowledging potential dramatic flaws and the lack of profound philosophical depth, the author praises Vijayapal's poetic talent, his use of imagery, and his skill in characterization, particularly in highlighting the negative traits of the Kaurava characters. The play is categorized as an Ihamṛga (a type of Sanskrit drama), fitting the characteristics of seeking an unattainable woman and featuring heroic themes, though with a limited number of sandhis (parts of a drama).

In essence, "Draupadi Swayamvaram" is a Sanskrit drama that dramatizes a key event from the Mahabharata. It showcases the playwright's skill in weaving together mythological narratives, historical context, and poetic expression, while also offering a unique interpretation of the characters and events, particularly emphasizing Krishna's role and Arjuna's dual appeal (strength and character) to Draupadi.