________________
Vol. 1-1995
A Glimpse into the....
भवाइयात्रायां राजा नृत्यति । 4 yeari argefa 1124
This short but clear mention of the Bhavai, the popular traditional dramatic form, still prevalent in Gujarat, was a very clear indication of the existance of the Bhavāi and its very name is very significant : for Asaita Thakara, who flourished in the 14th century, is said to be traditionally the originator of Bhavãi. He himself did not call it Bhavai and the word seems to have been used in the next century. He called it "FR". In the Desi dramatic forms, the uparūpakas, dance, and music were the basic elements and even the dialogues were sung rather than spoken in straight speech. Asäita Thākara's contribution was limited, though very significant, to writing plays by adding prose dialogues alongwith the verse dialoguesa.
Writes the Jaina poet Lavanyasamdaya (16th century) in his Vimalaprabandha2 : 14 MET 5 (where there is a chowk (cācara, Skt. catvara), there is a jätar) and further laments about the social conditions then prevaling: (The dramatic persona are considered sudras; p.30: a ff 700 : The lowly is the actor's art.) (p.31). He further says,
न गणइ घरमाटी कुण मात्र नाराऊँ जोवा जाइ जात्र घरनां बालः मेल्हइ वारि चपल पणइ हीरइ संसारी
(The women do not bother about their husbands or children and flock to see the jātrā.) Although the status of the actor (natakīyā) was ranked low, the jātrā clearly was very popular. It is also clear that this jātrā was a fully developed form in the lete medival times as people flocked to see it. The (Bhavai) term was already in existence before Asaita's time in Gujarat as known from this late but dependable Solanki source.
Conclusion
The Dramatic traditions of Medieval Gujarat, the Sanskrit Rüpakas, and the GeyaRūpakas or the "other forms" (Trify hift) were an all-India phenomenon. Both these forms with their regional emphasis were prevalent in many parts of the country as we know it from the writers of the medieval times, of the south as well as of the north. Southern writers like Sārngadeva, Saradātanaya, Jaya Senāpati, and others wrote about these Margā and Desi dramatic traditions and so did the writers in the north such as Bhoja of Dhārā, Hemacandra, Rāmacandra-Gunacandra, Viśvanātha of Bengal, and Rāņā Kumbha of Rajasthan. the names given by them of the Deśī forms are almost the same in the south and north, though sometimes the numbers vary. Now nothing is known
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
