Jain Journal 1978 07

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 47

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echoes the voice of freedom, an assurance symbolically offered to a captive of worldly attachments and conflicts by the ultimate appearance of the Nirgrantha. Actually, the virtuosity of the drama staged in the Mahajati Sadan, Calcutta, on 23rd April, 1978 has epitomised a theme which belongs to all time. Mrigavati was entirely played by the young girl students of Jain Sikshalaya, Calcutta.
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Adopted from Jaina traditions the drama is set forth in a political perspective of about sixth century B.C. when the state of Vatsa with its capital at Kausambi (present Kosam near Allahabad) and Avanti with its capital at Ujjayini made a bid for political supremacy though, as we know, Magadha carved out the desired empire in the long run. At this time king Pradyota of Ujjayini, known as Canda for his violent temper, was younger than king Satanika of Kausambi and was a stronger aggressor in the field. It is supposed that, Satanika belonged to the line of Arjuna of the Great Epic. The stof Mrigavati as told in the drama belongs to this ancient epoch of struggle, heroism and idyllic beauty of urban and rural life and environments. The age is well-remembered for a culture of high order as also the standard of diplomacy and morality understood by the court and the nation. These glowed in the perspective of the remote murals of the epics that ended with war and peace. Jayanta, the talented painter of Kausambi incurred the displeasure of Satanika by painting a woman replete with all her feminine grace on the wall of the royal theatre of the palace which, though he did not know revealed the hidden charms of Mrigavati, the chief queen of Satanika. Jayanta created his masterpiece by only espying three fingers of a lady from a door-hole. With his inexplicable genius and ability the artist could recreate the entire portrait of the lady-drawing inspiration and evidence from the delicate limbs only. Being indignant at this Satanika asked him for an explanation. Though Jayanta could convincingly prove his innocence the king could not forgive him and by his command the artist was punished, the thumb of his right hand was cut off and he was exiled from the country. With the flame of revenge in his heart poor Jayanta made an error for which he was later on greatly repentent, he instigated the sensuous and warrior lord of Ujjayini Canda Pradyota to claim Mrigavati for his pleasure. Before reaching the court of Pradyota the artist acquired the same proficiency in his brush work by left hand as he had before his mutilation of the right thumb by worshipping a Yaksa i.e. a divinity. He gained access to the presence of Pradyota with the help of Malati, a prima ballerina who was giving performance with her troupe on the occasion of the birth-day of the king. Being his acquintance and further being grateful for his once saving her honour from the bondage of women leading a life of easy virtue Malati