Nirgrantha-1

SR No.: 522701
Original Sutra Author: N/A
Author: M A Dhaky, Jitendra B Shah
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 1995
Total Pages: 342
Language: English, Hindi, Gujarati
Classification: Magazine, India_Nirgrantha, & India
File Size: 10 MB

Page 93

Govardhan Panchal
Nirgrantha
with the help of his secret agents. This gives some idea of the secret service of the times as in the Arthaśāstra. In some ways, the play betrays some resemblance to the Mudrārāksasa, but it also differs from it in several ways. The play ends with a note of adbhuta, since in the end Siva himself appears to bless Vastupāla. It was performed during the yātrāmahotsava of Bhīmeśvaradeva by the order of Jayantasimha, son of Vastupāla.
Another notable play is the Prabuddha-Rauhiņeya by Rāmabhadra Sūrio. This six-act play was performed during the yātrā-mahotsava in the temple of Ādinātha, built by two Jaina brothers named Yaśovīra and Ajayapāla at Jhalor. The vastu or theme of the play is taken from some contemporary incident of the time of the Buddha and Mahāvīra. It depicts the story of a clever thief named Rau zineya who evades capture inspite of vigorous efforts made. But finally he is caught. A clever trick is used by the minister for making him confess his crimes. A hall was transformed to look like Indrabhavana and the gaņikās dressed like apsarases stood there to serve and question Rauhineya, who is brought there in a heavily drunken condition. When he was somewhat sober, he found himself surrounded by beautiful damsels who tell him that they are so happy to have him among them and they dance and sing in joy. He felt he was really in heaven! Now, Rauhineya had been earlier advised by his father never to listen to the words of lord Mahāvīra. Once, while passing through a place near which Mahāvīra was delivering a sermon, he closed his ears. But a thorn pricked his foot and he was forced to hear a few words of the sermon- "that gods never perspire, they do not tire, never wink, and their feet do not touch the ground." And Rauhineya in his present situation realizes that what he sees is merely a trick of the minister to make him confess his crimes. When asked what punyas (merits) he accrued that brought him there, he says he has done nothing but good and noble deeds all his life!
The trick of the minister having failed, he informs the king to release Rauhiņeya as nothing could be proven. The king orders that he should be brought before him. When the king tells him that he is set free, he is unable to believe. He realized that, if a few words of Mahāvīra could save his life, then, by surrendering himself to the Jina, he could be free from this wretched cycle of life and death for ever. He surrendered all the wealth he had amassed by stealing. Thus, he took to the path to Enlightenment?.
Apart from the Nātaka, the Nātikā, and the Prakarana, the other Rūpaka type that had been employed in Gujarat is the Vyāyoga which is a one-act play. Three vyāyogas so far have been found. The Nirbhaya-Bhima-vyāyoga of Rāmacandra, the Pārthaparākrama of Prahalādanadeva, and the Śankhaparābhava of Harihara. In these vyāyogas, of Gujarat and elsewhere, usually Bhima or Arjuna are the heroes. But in Sankhaparābhava of Harihara, the hero is the famous minister Vastupāla, a contemporary, who has been chosen as the main character.
The Nirbhaya-Bhima deals with the story of how Bhīma kills Bakasura, who wants one
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