Jayant Balbhadra Desh Ka Rajkumar

The provided text is the preface and the first five acts of a Hindi translation of Shakespeare's Hamlet, titled "Jayant, Balbhadra Desh ka Rajkumar" (Jayant, the Prince of Balbhadra Country). The translation was done by Ganpati Krushna Gurjar and published by Granth Prakashak Samiti in December 1912.

Here's a comprehensive summary of the provided pages:

Overall Context: The book is presented as a Hindi adaptation of Shakespeare's famous tragedy, Hamlet. The translator, Ganpati Krushna Gurjar, aims to make this classic work accessible to a Hindi-speaking audience, including those who are not well-versed in English literature. The text includes a detailed preface explaining the rationale behind the translation, the challenges faced, and the purpose of adapting such a play. It also provides a list of characters and locations, followed by the beginning of the play itself.

Key Points from the Preface (Pages 5-16):

• Publisher's Note (Page 5): The Granth Prakashak Samiti expresses their pleasure in presenting this second publication, following "Saral Gita." They mention other books in their pipeline. They lament the delays in delivery due to their reliance on external printing presses, stating their commitment to establishing their own press. They also acknowledge printing errors in this edition and hope to rectify them in future editions if the book is well-received by Hindi enthusiasts.
• Information on Other Publications (Pages 6-8): The preface provides summaries of three other books published by the samiti:
  • Saral Gita: A simplified translation and commentary of the Bhagavad Gita, aimed at providing guidance for the all-round development of individuals.
  • Maharashtra Rahasya: Explores the strength of 'Dharma' (righteousness) as the driving force behind Maharashtra's historical achievements and its contemporary status.
  • Mahatma Tolstoy's Three Articles: Covers topics like the reasons for addiction, the importance of industry over laziness, and educational philosophy.
• Purpose and Value of Drama (Pages 9-11): The preface emphasizes that drama is a powerful medium for conveying moral and educational messages, even to the illiterate, through entertainment. It criticizes contemporary theater for prioritizing external embellishments over meaningful content. The translator highlights that Shakespeare's "Hamlet" is a timeless play that works effectively across all eras and audiences.
• Hamlet/Jayant as a Study of Human Nature: The preface explains that "Hamlet" is a tragedy that powerfully illustrates how greed for power and women can lead to a person's downfall. It also highlights the play's exploration of themes like:
  • Simplicity without cunning.
  • The allure of Vedanta philosophy.
  • The power of imagination.
  • Filial devotion and conjugal love.
  • The consequences of a malicious heart and deceptive speech.
  • The downfall of thoughtless bravery.
  • The importance of sisterly love, wife's love, and friendship.
  • Shakespeare's contemplation of life and death.
• Translation Challenges and Approach (Pages 11-14): The translator acknowledges the difficulty of translating foreign cultural nuances, idioms, and concepts into Hindi. He explains that while the prose is translated into prose, Shakespeare's poetry is often translated into prose due to the challenge of poetic translation. Where poetic translation was attempted, credit is given to specific individuals. The translator prioritized conveying the spirit (भावार्थ) over literal word-for-word translation (शब्दार्थ) when direct equivalents were elusive. He also discusses the inclusion of Urdu words in the Hindi translation, justifying it by arguing that Hindi is the national language of India and should incorporate commonly used words from all its linguistic influences, including Urdu, which is seen as a transformation of Sanskrit.
• Cultural Adaptation (Pages 14-15): European customs, metaphors, and historical allusions have been adapted to Indian contexts where possible. However, certain scenes, like the graveyard scene with the gravediggers, are retained in their original European setting to preserve the narrative and intended meaning, as an attempt to fully Indianize them might alter their impact.
• Relevance to India (Page 15): The preface suggests that "Hamlet" (Jayant) is particularly relevant to Indians, drawing a parallel between Hamlet's philosophical ponderings and India's own philosophical traditions. It implies that Hamlet's contemplation of detachment from worldly duties through overthinking can be a cautionary tale for Indians.
• Source Text (Page 16): The translation is based on the "Dayton edition" of Hamlet, described as the most prevalent. The translator acknowledges the differences in various Hamlet editions and relies on scholarly interpretations, specifically mentioning the helpfulness of the late Prof. Agarkar's "Vikarvilasit" for his commentary.

Beginning of the Play (Acts 1-5):

• Characters and Setting (Pages 19-21): A comprehensive list of characters, with their Hindi names and brief descriptions (often corresponding to their English counterparts like Claudius, Hamlet, Gertrude, Polonius, Horatio, etc., with "Jayant" being Hamlet), and the various locations within the play (Balbhadra country, Elsinore, etc.) are provided.
• Act 1, Scene 1 (Pages 22-28):
  • The play opens on a cold, dark night at the castle of Elsinore (Kunjpura, Balbhadra Country).
  • Sentries (Gadadhar Singh, Bhimsen) are on guard and discuss the appearance of a ghost resembling the recently deceased King, Jayant's father.
  • Vishalaksha and Virsen join them, and they witness the ghost.
  • Vishalaksha, a scholar, attempts to speak to the ghost, but it flees when the cock crows, signifying the approach of dawn.
  • Vishalaksha and Bhimsen speculate about the ghost's appearance, linking it to a potential impending danger to the kingdom.
  • The discussion shifts to the military preparations and the unresolved conflict with Fortinbras of Poland (Yudhajit of Shakdweep), who seeks to reclaim lands lost by his father in a duel.
• Act 1, Scene 2 (Pages 29-34):
  • The scene shifts to the royal court. King Claudius (Jayant's uncle) addresses his court, mourning his brother's death while justifying his hasty marriage to Queen Gertrude (Jayant's mother).
  • Claudius sends Jay and Vijay to deliver a letter to Yudhajit of Shakdweep, urging him to cease his military preparations against Balbhadra.
  • Chandrasen requests permission to return to Wittenberg (Uttal), which is granted by his father, Dhoorti, and King Claudius.
  • Claudius and Gertrude try to console Jayant, who remains deeply melancholic and expresses his profound grief and disgust with the world, hinting at his uncle's hasty remarriage and his mother's actions with his famous "A little more than kin, but less than kind" soliloquy, translated as "...इसके ये प्यारके शब्द कांटोंसे चुभते हैं।"
• Act 1, Scene 3 (Pages 35-45):
  • Laertes (Chandrasen), on the eve of his departure for France, warns his sister Ophelia (Kamala) about Hamlet's affections, advising her to be cautious and maintain her virtue.
  • Polonius (Dhoorti), Ophelia's father, echoes Laertes' advice and cautions her against Hamlet's intentions.
• Act 1, Scene 4 (Pages 46-49):
  • Hamlet, Horatio, and Marcellus are on the ramparts. Hamlet expresses his contempt for Danish drinking customs.
  • The ghost reappears and beckons Hamlet to follow. Hamlet, despite warnings from Horatio and Marcellus, resolves to follow the ghost, driven by a mix of curiosity and duty.
• Act 1, Scene 5 (Pages 50-58):
  • The ghost reveals to Hamlet that he was murdered by Claudius, who poured poison into his ear while he slept.
  • The ghost demands that Hamlet avenge his murder but spare his mother, Gertrude.
  • Hamlet, deeply disturbed by this revelation, vows revenge and adopts an "antic disposition" (pretends to be mad) to conceal his intentions.
  • Horatio and Marcellus swear to keep Hamlet's secret.
• Act 2, Scene 1 (Pages 59-64):
  • Polonius instructs his servant Reynaldo (Jambook) to spy on Laertes in Paris, using deception to uncover his son's true activities.
  • Ophelia (Kamala) reports Hamlet's strange and disheveled behavior to Polonius, alarming him. Polonius concludes Hamlet is mad for Ophelia's love.
• Act 2, Scene 2 (Pages 65-82):
  • Rosencrantz and Guildenstern (Nay and Vinay) arrive, sent by Claudius and Gertrude to discover the cause of Hamlet's madness. Hamlet perceives their true motive and evades their questions.
  • Polonius informs Claudius about Hamlet's supposed madness stemming from Ophelia's rejection.
  • A troupe of traveling actors arrives. Hamlet is delighted and devises a plan to use a play (The Mousetrap) to expose Claudius's guilt. He asks the players to perform a play that mirrors his father's murder.
• Act 3, Scene 1 (Pages 91-98):
  • Claudius, Gertrude, Polonius, Rosencrantz, Guildenstern, and Ophelia plot to observe Hamlet.
  • Hamlet delivers his famous "To be or not to be" soliloquy, contemplating life, death, and suicide.
  • Hamlet confronts Ophelia harshly, tells her to "get thee to a nunnery," and denies ever loving her, contributing to her distress.
• Act 3, Scene 2 (Pages 99-118):
  • Hamlet instructs the players on how to act, emphasizing naturalness and avoiding excessive display. He discusses the importance of conveying emotions appropriately.
  • The players perform "The Murder of Gonzago," which Hamlet has slightly altered (adding the "Mousetrap" scene). Claudius reacts strongly to the reenactment of his crime, prompting him to storm out, confirming Hamlet's suspicions.
  • Polonius, Rosencrantz, and Guildenstern discuss Hamlet's behavior.
  • Hamlet is summoned by Gertrude. On his way, he finds Claudius praying. Hamlet refrains from killing him then, fearing it would send Claudius to heaven.
• Act 3, Scene 3 (Pages 119-134):
  • Claudius expresses his guilt and inability to truly repent.
  • Hamlet finds Claudius praying and decides not to kill him, believing that killing him while praying would send him to heaven.
  • Hamlet goes to Gertrude's chamber. Polonius hides behind an arras (curtain).
  • Hamlet confronts Gertrude about her hasty marriage. Hearing a noise behind the arras, Hamlet stabs through it, killing Polonius, whom he mistakes for Claudius.
  • Hamlet continues to confront his mother, showing her portraits of his father and Claudius, highlighting his father's superiority.
  • The ghost of Hamlet's father appears to Hamlet, reminding him of his purpose and urging him to deal gently with Gertrude.
  • Hamlet makes arrangements for his departure to England with Rosencrantz and Guildenstern, whom he suspects are sent to have him killed.
• Act 4, Scene 1 (Pages 135-137):
  • Gertrude tells Claudius about Polonius's death at Hamlet's hands.
  • Claudius resolves to send Hamlet to England, where he is to be killed.
• Act 4, Scene 2 (Pages 137-141):
  • Hamlet, encountering Rosencrantz and Guildenstern, mocks them for their inability to discover his secrets. He receives a message that the King of Poland (Yudhajit) is attacking and Hamlet expresses his determination to seek revenge.
• Act 4, Scene 3 (Pages 141-142):
  • Claudius reiterates his plan to send Hamlet to England, with Rosencrantz and Guildenstern carrying secret orders for Hamlet's execution.
• Act 4, Scene 4 (Pages 142-144):
  • Hamlet encounters Fortinbras's army on its way to Poland. He reflects on Fortinbras's ambition and contrasts it with his own inaction.
• Act 4, Scene 5 (Pages 144-151):
  • Ophelia, driven to madness by her father's death and Hamlet's rejection, sings songs and speaks nonsensically.
  • Laertes returns from France, enraged by his father's death and Ophelia's madness, and vows revenge on Hamlet.
  • Claudius manipulates Laertes, suggesting a plan to kill Hamlet.
• Act 4, Scene 6 (Page 152):
  • Horatio receives a letter from Hamlet, explaining that his ship was attacked by pirates, and he was taken prisoner. Hamlet is returning to Denmark.
• Act 4, Scene 7 (Pages 152-162):
  • Claudius and Laertes plot Hamlet's death. They plan to stage a fencing match where Laertes will use a sharpened, poisoned foil, and Claudius will prepare a poisoned drink for Hamlet.
  • Gertrude enters with news that Ophelia has drowned.
  • Claudius and Laertes express their grief and reaffirm their plan against Hamlet.
• Act 5, Scene 1 (Pages 163-174):
  • Hamlet and Horatio encounter gravediggers in a graveyard. Hamlet meditates on mortality and the transience of life, holding Yorick's skull.
  • Hamlet and Laertes engage in a fencing match.
  • Gertrude drinks from the poisoned cup intended for Hamlet and dies.
  • Laertes wounds Hamlet with the poisoned foil. In the ensuing scuffle, they exchange foils, and Hamlet wounds Laertes with the poisoned weapon.
  • Laertes confesses the plot and blames Claudius.
  • Hamlet, dying, kills Claudius by forcing him to drink the poisoned wine and stabbing him with the poisoned foil.
  • Hamlet asks Horatio to tell his story and dies.
  • Fortinbras arrives, surveying the carnage. Horatio explains the events.
  • Fortinbras orders Hamlet's body to be carried away as a soldier and claims the throne of Denmark.

This comprehensive summary covers the main plot points and thematic elements present in the provided pages of the book.