Hindi Ke Natako Me Tirthankar Mahavir

Here's a comprehensive summary in English of the provided Jain text, "हिन्दी के नाटकों में तीर्थंकर महावीर" (Tirthankara Mahavir in Hindi Plays) by Dr. Lakshminarayan Dubey:

This scholarly article, "Tirthankara Mahavir in Hindi Plays," by Dr. Lakshminarayan Dubey, Reader in the Hindi Department at Sagar University, explores the portrayal of Lord Mahavir, the 24th Tirthankara of Jainism, in Hindi drama.

The author begins by noting that many historical and general plays have been written in Hindi centering on the life of Lord Mahavir. He points out that Mahavir and Lord Buddha lived during the same period (6th century BCE), and thus, several Buddhist plays also depict the era of Mahavir. Plays like Ramvriksh Benipuri's "Tathagat," Vishwambhar Sahai "Vyakul"'s "Buddha Dev," Banarasidas "Karunakar"'s "Siddharth Buddha," Chandraraj Bhandari's "Siddharth Kumar ya Mahatma Buddha," Udayashankar Bhatt's "Muktipath," Ramvriksh Benipuri's "Ambapali," and Siyaramsharan Gupta's "Punya Parva" are highlighted as significant in this context.

The article establishes the 6th century BCE as the beginning of ancient Indian history, the period when Buddha and Mahavir lived and profoundly influenced the religious and cultural landscape of India. Both figures brought new and revolutionary perspectives to Indian thought, emerging in an era of religious intolerance and questioning of traditional Vedic practices like sacrifices. The author observes striking similarities between Buddha and Mahavir, particularly their opposition to the established social order. The rise of four major kingdoms in India during their time – Kaushambi (Vatsa), Avanti, Kosala, and Magadha – is also mentioned as a significant event. Plays like Prasad's "Ajatshatru" and Govindvallabh Pant's "Antahpur ka Chhidra" are cited for shedding light on the contemporary political situations.

The most important play written in Hindi on Lord Mahavir's life, according to the author, is "Vardhaman-Mahavir" by the late Brijkishore "Narayan," published in 1950. This play covers Mahavir's life from birth to his Mahaparinirvana (final liberation), dramatizing his personal life and religious beliefs. While the playwright claimed to adhere to historical accuracy as much as possible, the author notes that popular legends were also extensively used. Mahavir is presented as a historical figure, and his mother, Trishala (daughter of Videha), is acknowledged as the sister of King Chetak of Vaishali, as per historical accounts like Dr. Raychaudhuri's "Political History of Ancient India." Other characters like Nandi Vardhan, wife Yashoda, daughter Priyadarshana, Goshala, Ayampal Hastipal, and Suchita are all based on Jain scriptures, with the playwright appearing to rely more on Shvetambara texts.

The article points out parallels between Mahavir and Buddha, such as the father abstaining from collecting taxes upon the son's birth, a prophecy by an astrologer that the son would become an ascetic, and Mahavir renouncing his married life of thirty years to embrace asceticism. In the play, Goshala initially becomes Mahavir's disciple but later leaves him in anger after testing him and establishing the Ajivika sect.

The author further elaborates on the reliance on legends in Brijkishore "Narayan"'s play, citing examples like Goshala receiving spoiled rice as alms, Sambhayak and Mahavir being caught for theft, and the rope breaking during a hanging. Jamali is depicted as Mahavir's opponent who established the Bahurat sect. Mahavir attained enlightenment in his thirteenth year of penance and became a "Jina." He preached for thirty years and attained Nirvana at the age of seventy-two in Pavapuri, South Bihar – events considered historically accurate.

However, the author critiques Brijkishore "Narayan" for giving too much importance to legends, suggesting it prevented the creation of a more authentic milieu. He believes that by contextualizing Mahavir's life and actions within the broader culture, religion, society, and traditions of his era, the play could have achieved greater dramatic poignancy and impact. The play does incorporate certain tenets of Jain philosophy in Mahavir's teachings, highlighting the Jain faith's emphasis on human potential and divinity, and Mahavir's commitment to ahimsa (non-violence) and truth, which the author considers the play's core themes.

Mahendra Jain's play "Mahasati Chandanbala" is mentioned for its expression of pure and virtuous devotion towards women by Lord Mahavir.

Dr. Ramkumar Verma is praised as a paramount historical playwright in Hindi. His play "Jai Vardhaman," written for a Mahaparinirvana anniversary celebration and published in 1974, is described as a successful, meaningful, and stage-worthy drama. The article quotes a dialogue from the play where Vardhaman Mahavir emphasizes that a person free from violence can control others and that true heroism lies in understanding and alleviating others' suffering. The author regards Dr. Ramkumar Verma's play as the foremost work in Hindi drama literature on Lord Mahavir.

Several one-act plays (ekanki) on Lord Mahavir are also mentioned, some collected and others appearing in periodicals. Virendra Prasad Jain's "Vandana," published in 1975, is noted as a significant collection of such plays, as is his separate collection, "Bari Mahavir." These short plays are seen as offering glimpses into Mahavir's divine life.

Late Pt. Mangalsen Jain's "Mahavir Natak" is also acknowledged for its literary merit. "Trishala ka Lal" by Ghanshyam Goyal is described as a beautiful comedy (prahasan). Dr. Shitala Mishra adapted the novel "Anuttar Yogi" by Virendra Kumar Jain into a stage play titled "Atm Jayi Mahavir."

Mahavir's personality and achievements have also been presented through musical plays (sangeet-natika). Notable works in this genre include "Jyoti Purush Mahavir" by Dhyansingh Tomar 'Raja' and "Prem-Saurabh" by Jayanti Joshi.

The article further discusses radio plays (radio roopak) featuring Mahavir, with Kuth Jain credited for bringing Mahavir to the airwaves. Bharatiya Gyanpith published a theatrical adaptation called "Vardhaman Roopayan," which includes a radio play "Maan Stambh," a dance-drama "Divya Dhwani," and a stage play "Veetrag." These adaptations, published in 1975, are considered significant works from the Mahavir Nirvana Centenary year. The author highlights their suitability for various festivals and their connection to Mahavir's life, teachings, and universal influence. These works are praised for their innovative content and style, effective use of stage design and lighting, and Kuth Jain's poetic finesse and refined language. The plays convey the divinity of Mahavir's life, his rigorous austerities, scientific approach, and inspirational teachings focused on universal welfare with profound and intimate expression. "Divya Dhwani" (the dance-drama) is considered the most significant among these, artistically presenting Mahavir's life and teachings with timeless relevance and universal appeal. The article includes a sample verse from "Divya Dhwani" reflecting on the eternal nature of creation and the cyclical flow of time, leading to the emergence of Tirthankaras like Rishabhnath. The introductory section of this book is deemed highly important and insightful, discussing various topics with a blend of intellectuality and modernity.

The author quotes Kuth Jain stating that the success of these works, with their strengths and weaknesses, would be considered an accepted tribute at the feet of the Lord. The article notes successful multidimensional experiments in Rajasthan in this regard, particularly mentioning Dr. Mahendra Bhanavat's three puppet plays: "Chandan ko Vandana," "Mangalam Mahaviram," and "Paramu Palaniye." "Chandan ko Vandana" was published in "Shramanoopasak" (April 1975) and focuses on Mahavir's upliftment of women. "Mangalam Mahaviram" was published in "Jain Sahitya" (November 1975), and "Paramu Palaniye" is a Rajasthani work published in "Veer Nirvana Smarika" (Jaipur, 1975).

In conclusion, the article asserts that Tirthankara Mahavir has been depicted and expressed across all genres and categories of Hindi drama. The dramatic literature on Mahavir is valuable from literary, theoretical, and theatrical perspectives. Drama, being connected to visual perception and imitation, is a powerful medium for aesthetic appreciation. Therefore, Hindi dramatic literature on Mahavir not only enriches literature but also strengthens and enriches the Hindi theatre, while simultaneously instilling pure and virtuous sentiments in the religious public.