Jain Journal 1982 04

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

Page 47

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JAIN JOURNAL
Sadan, a well-known centre for cultural performances. It was verily satisfying or rather an experience to see Nemi Pravajyā that was originally published in Bengali in Sraman, a monthly magazine, of the month of Magha, B.S. 1386 (Feb., 1980). The drama enacted by the students of the Jain Siksalaya presented its Hindi version, a free translation done by Sm. Rajkumari Begani who is litterateur already distinguished for her works specially appreciable for their lyrical contents as also a delicate style and finesse. The play begins with a scene in a glade where the nymphs of the woodland (Vanabālās) dance and sing in a peaceful atmosphere which was soon broken by a group of royal hunters equipped with their horns, traps and arms. The nymphs disappeared at the moment they heard the horns of the intruders who charged from all directions. These hunters who were sent for supplying meat for the royal banquet to be held to celebrate the marriage of Aristanemi and Rajimati mercilessly caught animals running or hiding with fear. The tragedy of the circumstance, as if to anticipate the realisation of the princely bridegroom, is symbolised by the condition of a hapless offspring of a deer and a rabbit characteristically innocent and timid. When the young deer tearfully called its mother and the hare being entrapped by resinous glue supplicated to the king's hunters for mercy there was only a roar of joy for the predictable delicacies of meat and the anticipated items of recipe. When all the animals required for the feast were caged and were on the way to their destination in the city Aristanemi and his entourage were proceeding to the palace of Samudravijaya. Here the cries of agony coming from the caged animals led to the renunciation of a prince who decided to adopt the life of a recluse then and there. In Lalwani's opera the love, grace and noble personality of Rajimati is beautifully etched. The legend as a theme of all times is graced with the appearance of Krsna who as the epitome of whatever that is sweet and good in the universe gave his blessings to both Aristanemi and Rajimati when individually they arrived at their own decisions amidst different settings. In the last scene of the drama Rajimati was seen as dancing before Aristanemi deeply absorbed in meditation. The dance expressed here utter devotion and surrender to the prince in his voyage to the bliss beyond existence that had just begun, This drama, when it was staged in the Mahajati Sadan captivated the audience as it did in the Star Theatre a number of months before. The writer was greatly impressed by the winsome individuality and coordination and the very sweetness of all the participants of tender age. It was moving to see that all of them took this episode with verve and sincerity. Among these pretty participants a special mention may be made of Sm. Swapna Lunia who played the role of Aristanemi that appeared credible for her freshness, elegance and dark eyes as soft and thoughtful as those with