Hindi Natakkar

This is a comprehensive summary of the Jain text "Hindi Natakkar" by Jaynath, published by Atmaram and Sons, based on the provided pages.

Book Title: Hindi Natakkar (हिन्दी नाटककार) Author: Prof. Jaynath 'Nalin' (प्रो० जयनाथ 'नलिन') Publisher: Atmaram & Sons, Delhi (आत्माराम एण्ड संस, दिल्ली) Publication Year: 1652 (The year provided in the text, likely a typo and might refer to 1952 or a similar year in the mid-20th century, given the content discussing modern playwrights).

Core Theme: The book "Hindi Natakkar" by Prof. Jaynath 'Nalin' is a detailed analytical study of Hindi drama and its prominent figures. It delves into the art, evolution, and works of various Hindi playwrights. The book aims to provide a serious and comprehensive understanding of the subject for readers.

Key Aspects and Content:

1. "Alok" (आलोक) - Introduction/Foreword:

   • The author mentions that the book initially started as a critique of Hindi drama but was expanded due to suggestions from colleagues to include the evolution and principles of dramatic art.
   • The author emphasizes that the discussions on the origin, importance, and development of drama are based on independent thought, not just repeating traditional views.
   • The focus is on the evolution of drama as an art form, not just a historical account.
   • The author promises originality, a new perspective, and deep thought in the analysis.

2. "The Birth of Drama" (नाटक का जन्म):

   • Origin: Drama is as old as human life itself. The author presents two perspectives: one from Indian philosophy (divine creation) and another from evolution (ape to human). Both suggest a dramatic beginning to human existence. Drama, in its primal, unwritten form, emerged with humanity.
   • Primal Form: The author vividly imagines the primitive form of drama in the life of a hunter. This includes elements like:
     • Story/Plot (कथावस्तु): A dramatic event, like a hunter being attacked by an animal.
     • Characters (पात्र): The hunter and the youth disguised as an animal.
     • Acting/Performance (अभिनय): The youth pretending to be an animal, startling the hunter, and then revealing himself with laughter.
     • Dialogue (कथोपकथन/संवाद): The initial utterances between the youth and the hunter.
     • Emotion/Purpose (रस/उद्देश्य): Elements of the 'amazing' (अद्भुत) or 'humorous' (हास्य) are present.
   • Dance and Drama: The author posits that drama, in its fundamental form, preceded dance, although dance later contributed to its development. Primitive dances are seen as an early form of drama, often involving costumes (animal skins, horns) and depicting themes like hunting, combat, and boasting.
   • Mental Propensities: Drama originates from fundamental human psychological tendencies:
     • Desire for Self-Expansion/Grandeur (आत्म-विस्तार/विराट बनने की प्रवृत्ति): Humans want to be more than they are. This drives imitation, leading to adopting different roles (animals, deities, heroes, royalty). This is considered the primary driver of drama.
     • Imitation (अनुकरण की प्रवृत्ति): The desire to become someone else leads to imitation.
     • Self-Expression/Self-Revelation (आत्म-प्रकाशन/आत्माभिव्यक्ति की प्रवृत्ति): Humans need to express their joys and sorrows. This leads to emotional expression through dialogue and acting.
   • Social/National Defense: While some critics consider the feeling of social or national defense as a cause for drama's birth, the author argues that drama predates these concepts in their developed forms. However, social and community defense did contribute to the expansion of drama.
   • Evolution from Ritual/Celebration: Drama evolved from social celebrations, seasonal festivals, religious rituals, and hero-worship. Initially, these involved simple dances and songs, later incorporating life events and dialogues. Religion and hero-worship significantly influenced early dramas in all cultures.

3. "The Importance of Drama" (नाटक का महत्त्व):

   • Superiority over Other Arts:
     • Poetry: While poetry is often considered the highest art due to its concentrated emotions and lasting impact, drama is seen as superior among poetic forms (auditory and visual). Drama provides a more intense emotional experience than reading or listening to poetry because it creates vivid, concrete imagery through actors, unlike poetry's reliance on words to create mental pictures.
     • Music: Music provides auditory pleasure and concentration but lacks the visual and all-encompassing sensory engagement of drama. Drama involves eyes, mind, and intellect, leading to complete immersion.
     • Narrative/Prose (आख्यायिका - उपन्यास, गल्प): Novels and stories offer entertainment but not the deep emotional absorption (रसानुभूति) that drama provides. Novels allow the author more freedom, whereas playwrights must convey everything through characters. Drama requires greater imaginative talent for its creation.
   • Holistic Experience: Drama integrates various art forms (sculpture, painting, music, dance, architecture) and knowledge (psychology, sociology, costume design).
   • Democratic Art: Drama is considered democratic because it appeals to a wide audience, requiring no specialized prior knowledge of the art form itself. It engages all senses, aiding collective enjoyment.
   • "Pancham Veda" (पंचम वेद): Referencing Bharata Muni, the author highlights drama's esteemed status as the "fifth Veda," indicating its profound significance in Indian thought. Bharata Muni believed drama encompassed yoga, karma, all scriptures, and all arts. It preserves cultural traditions and brings history and mythology to life.

4. "The Development of Drama" (नाटक का विकास):

   • Universality of Human Experience: Basic human desires, emotions, and developmental stages are similar across cultures, leading to parallel development of drama worldwide.
   • Origins in Rituals: Across different cultures (Greece, India, China, Mexico), drama originated from festivals, hero-worship, and seasonal celebrations. These often involved dances, songs, and reenactments of life events, eventually incorporating dialogue.
   • Greek Tragedy: Tragedies began with dances and songs imitating Dionysus, often linked to seasonal changes and honoring gods. Greek playwrights like Aeschylus, Sophocles, and Euripides are mentioned.
   • Greek Comedy: Comedies evolved from festive, sometimes obscene, performances, particularly in China and Greece, often mocking prominent figures. Greek comedy played a significant role in the development of Greek drama.
   • Roman Theatre: While Roman theatre adopted Greek drama, it saw a decline in artistic quality, becoming more focused on violence and obscenity.
   • Medieval European Drama: Religious themes dominated medieval European plays, particularly "Mystery and Miracle Plays" featuring saints' lives and moral teachings.
   • Classical Greek Performance Style: Open-air performances, use of masks, elevated shoes, and choral singing between acts are noted.
   • Indian Drama: India is credited with an earlier and more developed dramatic tradition, with playwrights like Bhasa existing centuries before European counterparts. Indian drama, while influenced by religion, consistently portrayed social life, as seen in Bhasa's "Charudatta." Kalidasa and Bhavabhuti are highlighted as peaks of Indian dramatic art.
   • Decline and Renaissance: Sanskrit drama declined by the 12th century while European drama flourished during the Renaissance, blending ancient and modern elements, incorporating romantic themes, and moving towards greater naturalism. Indian drama, during this period, saw little innovation, primarily continuing with happy endings and supernatural elements.
   • Medieval European Revolution: The European middle ages saw a dramatic revolution with plays becoming more realistic, focusing on internal and external conflicts, psychological depth, and simpler techniques. The era of Shakespeare and other renowned European playwrights is identified as a golden age, though poetic dialogue and soliloquies remained.
   • 19th Century Revival and Realism: The late 19th century marked a new awakening in European drama, with playwrights like T.W. Robertson, Ibsen, and Shaw focusing on contemporary social issues, naturalism in acting and dialogue, and relatable characters from ordinary life. Ibsen's influence is detailed, leading to themes of social morality, individual struggles against societal norms, and psychological conflicts.
   • Modern Indian Drama: Bengali playwrights like Dwijendralal Roy, and Hindi playwrights like Prasad and Lakshminarayan Mishra are mentioned for their contributions, incorporating realism and exploring psychological depth. Marathi and Tamil theatre also saw significant developments. The lack of a dedicated Hindi theatre is noted, though performing troupes exist.

5. Classification of Plays (नाटकों का वर्गीकरण):

   • Indian vs. Western: Indian tradition aims for "Ananda" (joy) and typically features happy endings. Greek tradition often focused on fear, sorrow, and tragedy.
   • Western Classification: Tragedy (दुःखान्त) and Comedy (सुखान्त). The term "Tragedy" is linked to the Greek word "Tragos" (goat). Aristotle's definition emphasized gravity and avoidance of humor, later including death.
   • Indian Context: The author states that true tragedies (दुःखान्त) were not written in Sanskrit drama, although plays like "Urubhanga" (mentioning Duryodhana's death) are noted. "Uttar Ramcharit," despite its pathos, ends happily.
   • Hindi Drama: Hindi plays, influenced by Western literature, include both tragedy and comedy. Prasad's plays are classified as "Prasadant" or "Prashant" (प्रसादान्त/प्रशान्त) due to their unique blend of happiness and sorrow.
   • Tragedy Definition: A play ending in sorrow, often involving suffering, pain, and ultimate failure for noble characters, leaving the audience with pity and sadness. Shakespeare's Hamlet, Romeo and Juliet, Macbeth are cited.
   • Comedy Definition: A play ending in happiness or success, even if it includes elements of sorrow or pathos. Kalidasa's "Shakuntala" is given as an example.
   • Prasadant/Prashant: Plays with a balanced mix of joy and sorrow, leading to a sense of cosmic well-being or peace. They often involve sacrifice and suffering, but result in universal good, leaving the audience with hope for a brighter future.
   • Other Classifications: The author dismisses classifications based solely on subject matter (historical, mythological, problem-play) as unscientific due to overlaps. Classifications based on idealism, realism, and romanticism are also deemed insufficient.

6. Absence of Tragedy in Indian Drama and its Reasons (भारतीय साहित्य में दुःखान्त नाटक):

   • Reasons for Absence:
     • "Anandavada" (आनन्दवाद): Indian literary tradition prioritizes blissful ("Ananda") outcomes, deeming depictions of death, political upheaval, and suffering of virtuous people to be "forbidden" as they might disrupt enjoyment and doubt divine justice.
     • Artificial Compassion: The fear that staged sorrow might create artificial pity, diminishing natural compassion and leading to desensitization.
     • Purpose of Drama: Drama is meant for public entertainment and joy (Janaranjan - जनरंजन), as indicated by the origin myths.
     • Optimistic Outlook: The Indian worldview is fundamentally optimistic, celebrating life's positive aspects.
     • Doubt in Divine Justice: Fear that witnessing the suffering of good people might lead audiences to question divine justice or God's existence.
   • Critique of Reasons: The author counters these arguments:
     • The concept of "Anandavada" is challenged by the Buddhist philosophy, which sees compassion (Karuna) as central to liberation.
     • The argument about artificial compassion is dismissed as illogical, as it would also invalidate the enjoyment derived from comedy or heroism.
     • The idea that drama is purely for entertainment is refuted by its role in conveying profound experiences.
     • The optimism of the Indian outlook doesn't preclude acknowledging life's hardships, and suffering doesn't necessarily lead to doubt in justice.
     • The fear of questioning divine justice is deemed absurd, as life itself presents such challenges (e.g., Gandhi's assassination).
   • Real Cause: The author suggests the primary reason is the perception of literature as separate from real life, focusing on ideals rather than reality. Indian literature often depicted what should be rather than what is. The preference was for depicting the pleasant aspects of life, neglecting the sorrowful.
   • Lack of Public Connection: Drama was often patronized by royalty and nobility, catering to their tastes, which favored pleasant narratives.
   • Hindi Drama Today: Despite Hindi literature being closer to public life, tragedies remain scarce. The author laments that Hindi literature hasn't fully embraced life's complexities.
   • Historical Examples in Hindi: Bharatendu's "Neeladevi" and "Randhir Premmohini" are cited as early attempts, but considered foundational rather than fully realized tragedies. Prasad's era produced no tragedies. The post-Prasad era also lacks great tragedies, with few attempts being technically weak.

7. Hindi Drama Development Overview:

   • Early Stages: Influenced by Sanskrit dramas and translations. Early translations of Sanskrit works and original plays emerged.
   • Bharatendu Era: Bharatendu Harishchandra is credited with revolutionizing Hindi drama, incorporating social and national themes, and establishing modern prose. His works are categorized as original and translated, with diverse themes and styles.
   • Post-Bharatendu/Pre-Prasad: A transitional period marked by a surge of translations rather than original works, with a gradual shift towards more natural language and a decline in Sanskrit influences.
   • Prasad Era: Considered a golden age for Hindi drama, characterized by literary quality, stylistic refinement, historical and social themes, and the integration of Indian and Western techniques. Prasad's plays are noted for their psychological depth and realistic portrayal of characters.
   • Post-Prasad Era: Saw further development of techniques, a greater focus on contemporary issues, realism, and the influence of Western playwrights like Ibsen and Shaw.
   • Key Playwrights and Their Contributions: The book then goes on to discuss specific playwrights:
     • Bharatendu Harishchandra (भारतेन्दु हरिश्चन्द्र): His role as a pioneer, innovator, and his patriotic and satirical plays are detailed.
     • Jaishankar Prasad (जयशंकर 'प्रसाद'): His contributions to historical and cultural dramas, philosophical depth, and poetic language are highlighted.
     • Govind Ballabh Pant (गोविन्दवल्लभ पन्त): His focus on dramatic structure, relatable characters, and societal issues is discussed.
     • Vrindavanlal Verma (वृन्दावनलाल वर्मा): His historical dramas and skill in adapting history for the stage are noted.
     • Lakshminarayan Mishra (लक्ष्मीनारायण मिश्र): His focus on intellectualism, societal problems, and psychological realism is detailed.
     • Uday Shankar Bhatt (उदयशंकर भट्ट): His exploration of mythological and historical themes, particularly religious conflicts, is discussed.
     • Seth Govind Das (सेठ गोविन्ददास): His focus on social issues, individual character studies, and ethical dilemmas is examined.
     • Upendranath 'Ashk' (उपेन्द्रनाथ 'अश्क'): His portrayal of contemporary social issues, psychological depth, and innovative techniques are highlighted.
     • Prithvinath Sharma (पृथ्वीनाथ शर्मा): His dramatic style, focus on societal issues, and character development are reviewed.
     • Rangamanchiya Natakkar (रंगमंचीय नाटककार): A section dedicated to playwrights whose work was primarily for the stage, including Madhav Shukla, Agha Hashr Kashmiri, Radheshyam Kathavachak, Narayan Prasad 'Betab', Haridas Manik, Makhanlal Chaturvedi, Jamnadas Mehra, Durga Das Gupta, Anand Prasad Khatri, Shivram Das Gupta.

Overall Scope: The book provides a historical overview and critical analysis of Hindi drama, covering its origins, evolution, theoretical aspects, and the contributions of significant playwrights from the early stages through the modern era. It emphasizes the integration of various art forms and the socio-cultural context that shaped the development of Hindi theatre. The author's attempt to provide an original and insightful perspective is evident throughout the text.