Jain Journal 1978 07

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

Page 51

JAIN JOURNAL
The above story of Mrigavati composed by Sri Lalwani will touch the cord of every soul to whcm the purity of intention and chastity are alike and nearest to our concept of beauty beyond boundaries. Mrigavati was neither a Delilah who beguiled Samson nor a Judith who cut off the head of Holofernes, the general of an Assyrian army who invaded Bethulia, she fought against destiny and violence from her unbruised rampart of chastity and moral values. She deserved the blessing of the Jina who gave her emancipation from earthly bondage.
The most sublime and beauteous moment of the stage version of the drama was the surrender of Mrigavati to the light symbolising the Jina, the conqueror of the self and the friend of the universe. The hymn chanted on the occasion hearlding, as it were, the approach of the Lord and the way Sm. Rajkumari Sethia depicted the ultimate freedom of the fair widow queen will steal the heart of the audience. In its own scope and purport the stage version will be remembered as an acme of performance. The acting of Sm. Renu Begani as Satanika and of Sm. Manju Bachhawat as Canda Pradyota deserve praise in this connection especially considering their very young age. What further impressed the audience was the part of Vidūşaka or court-jester played by equally a young student Sm. Sashi Mehra. The performance of Sm. Rajani Choraria as Citrakāra Jayanta and of Sm. Sandhya Lunia as Malati and Bhagavati Kausiki will live in memory. The role of the envoy of Pradyota was true to the character as demanded by the drama. The Jyrical charm of Sm. Rajkumari Sethia with her elegant beauty and graceful movement will recall some of the passion and sublimity of the ancient marbles of Dilwara.
The play will justly compliment the Hindi translation of Mrigavati by Sm. Rajkumari Begani. Mrigavati was originally written in Bengali by Sri Ganesh Lalwani, the well-known poet and artist. The dances beautifully performed on the stage had been choreographed by Sri Yogendra Narayan. The credit of direction of the play mainly rests with Sri Rajendra Sharma. Sm. Rajkumari Begani had also an important contribution in this aspect. The music which was absorbing all along was performed by Sri Rabi Biswas and his party. The lighting arrangement which embellished the theme of the drama was arranged by Sri Anil Saha. The costume was supplied by Rapayana, Calcutta.
Thematically Mrigavati appears as a new flower blossomming in the garden of our memory and imagination while its artistry on the stage of Mahajati Sadan, Calcutta will be recollected as an example of grace and virtuosity in its scope involved.