Jain Dharmna Prachar Mate Natak Kalano Upayoga - Book Summary

Here's a comprehensive summary of the provided Jain text, "Jain Dharmna Prachar Mate Natak Kalano Upayoga" (The Use of Drama Art for the Propagation of Jainism) by Muni Shilchandrasuri:

Core Argument: The text argues that drama is a powerful and ancient art form that has been effectively used for three primary purposes:

Entertainment and Aesthetic Pleasure (Rasa-Nishpatti): To entertain the audience and evoke emotional responses.
Dissemination of Knowledge and Ideals: To convey historical or fictional events in an accessible manner, achieving political, practical, or religious objectives, including the propagation of religious principles and teachings.
Preservation and Promotion of Culture: To conserve and foster Indian (ancient and modern) culture.

Drama, like painting, dance, and music, is considered a potent tool for achieving all these goals. While its forms and languages have evolved over time, its underlying purpose has remained consistent. A play's success in achieving the latter two objectives (knowledge dissemination and cultural promotion) is contingent upon its ability to first achieve the primary goal of entertainment.

Historical Examples of Drama's Purposeful Use:

The author provides several historical examples to illustrate how drama has been used to achieve specific objectives:

Example 1 (Kannauj King & Jain Acharyas): When the King of Kannauj doubted his Jain teachers, Bappabhattasuri and his disciples Govindsuri and Nammisuri, the latter two disguised themselves as actors. In the royal court, they performed a play so intensely that it evoked a sense of heightened heroism (Veer Rasa) in the king and the Kshatriya audience, making them feel they were on a battlefield and ready to draw their swords. This dramatic display effectively conveyed the principle that "true heroism resides within the self" (Viraha Yo Rasaha Pautraha), fulfilling the Acharyas' objective.
Example 2 (King Bhoja & King Tailapa): To dissuade King Bhoja of Malwa from invading another country, a play was staged depicting the defeat and tragic death of King Munj of Malwa at the hands of King Tailapa of Tailanga. The play successfully diverted King Bhoja's aggressive intentions.
Example 3 (Cultural Preservation): The author asserts that drama has historically been used for the preservation and promotion of Indian culture, citing ancient theatrical texts as evidence.

Drama in Jainism:

The text emphasizes that Jainism has also historically utilized drama to spread its core principles and practical teachings to the masses.

Golden Age of Gujarat: During the era of Acharya Hemachandrasuri and ministers Vastupala and Tejapala, a period of cultural flourishing in Gujarat, Jain dramatic literature (Jain Natak Sahitya) was created alongside other literary forms. Plays like Mudrita Kumudchandra, Maharaj Parajay, and Prabuddha Rohineya are mentioned as significant works that were also effectively performed on stage.
Core Jain Principles in Plays: The primary objective of these Jain dramas, often written in Sanskrit, was to establish and promote the fundamental principles of Jainism, such as non-violence (Ahimsa), non-possession (Aparigraha), renunciation (Tyaag), detachment (Vairagya), inner peace, and ultimately, liberation (Moksha). To achieve this, playwrights sometimes used allegorical tales filled with pathos and detachment, illustrating the impermanence of worldly life (e.g., Maharaj Parajay). At other times, they drew inspiration from historical religious events (e.g., Prabuddha Rohineya).

Detailed Analysis of "Prabuddha Rohineya":

A significant portion of the text is dedicated to a detailed analysis of the Jain play Prabuddha Rohineya, authored by Muni Rambhadra.

The Story of Rohineya: The play centers on the story of Rohineya, the son of a notorious thief, Lahkhur, who was a master of illusionary arts. The father made Rohineya promise never to listen to or interact with Shraman Bhagwan Mahavir. Lahkhur feared that Mahavir's teachings would transform his son and disrupt their criminal profession. Rohineya, bound by his promise and fear, tried to avoid Mahavir.
Encounter with Mahavir's Teachings: While on a thieving mission, Rohineya inadvertently stumbled upon Mahavir's samavasarana (preaching assembly). Terrified of breaking his promise, he plugged his ears and ran blindly. However, he stepped on a thorn, forcing him to remove his hand from his ear. In those few moments, he overheard Mahavir's description of divine beings, highlighting their perfect and ethereal qualities. These words, though heard unwillingly, became a turning point in his life.
Playwright's Skill: The playwright, Muni Rambhadra, masterfully depicts this encounter. Bhagwan Mahavir is not shown directly on stage but his voice is conveyed through a verse sung from behind the curtain (nepathya), creating a sense of divine presence. Rohineya, hearing this, begins to question his father's teachings and reflects on the words of Mahavir. This moment marks the initial seed of his transformation.
Abhaykumar's Strategy: Later, Rohineya is caught by Mahamantri Abhaykumar. Unable to prove his guilt conclusively, Rohineya is made to feign unconsciousness after being drugged. Abhaykumar then stages a heavenly scene with celestial maidens and attendants to trick Rohineya into revealing his past deeds. However, Rohineya, recalling Mahavir's description of gods, realizes the deception. He recognizes that the staged beings are unlike the divine beings Mahavir described, prompting him to respond to Abhaykumar's questions cautiously, showing the nascent stages of his transformation and his growing respect for Mahavir.
Thematic Significance of Rohineya's Transformation: The play highlights the power of sat-sangati (good company) and the profound impact of listening to sacred teachings, even unintentionally. It implicitly teaches the Jain principle of asteya (not stealing) by showcasing the consequences of wrongdoing and the path to redemption. Rohineya's realization that Mahavir's words were not to be feared but were actually his protection underscores the redemptive power of the Tirthankara's teachings.
The Role of Faith and Trust: The text also touches upon the importance of trust and faith. When the king questions Rohineya with genuine faith, Rohineya feels compelled to confess his true identity and actions, emphasizing that sincere trust can even lead a sinner to reform.
Conclusion of Rohineya's Story: Rohineya, confessing his crimes, surrenders himself and his ill-gotten wealth to Mahavir, marking his complete transformation. The play concludes by emphasizing that this narrative serves as a vital tool for propagating Jain principles like asteya and the immense glory of listening to the words of a divine Tirthankara.

Modern Relevance: The text concludes by noting that, just as in ancient times, various methods are employed today for propagating religious principles, including mechanized presentations of religious stories during festivals and the dedicated efforts of actors and artists in spreading religious messages through their performances.

In essence, the book champions the art of drama as a potent and enduring medium for spiritual and cultural propagation, with a particular focus on its historical and ongoing role within Jainism.