Nirgrantha-1

Author(s): M A Dhaky, Jitendra B Shah
Publisher: Shardaben Chimanbhai Educational Research Centre

Page 92

Vol. 1-1995
A Glimpse into the...
Some plays had been written on certain historically significant events. Among these may be mentioned the Mudrita-Kumudacandra-prakarana (c. 2nd quarter of the 12th century), dealing with the doctrinal debate between the supporters of the two Jaina sects, the Svetāmbara and the Digambara. In the court of Siddharaja Jayasimha, the Digambara dialection Kumudacandra and the Svetambara Devasūri held the religious debate on whether "a woman can attain salvation or not" and whether "a clothed one" can attain release or not. This 16 day long debate on doctrinal divergencies of the sects was woven into a five-act play by Yaśașcandra, a protégé of the king of Sapädalaksa. Importance of this play lies in its depiction of the religious and social conditions of Gujarat at that time. From the prastāvanā of the play, it is clear that the poet wrote four more plays, but nothing is at present known about them.
The Moharājaparājaya is an allegorical play, written some time between A. D. 1173 and 1176. It was staged during the yātrā-mahotsava in the Kumāra-vihāra in the town of Thārāpadra (Tharād) in North Gujarat. Its author, Yaśahpāla, was a minister of king Ajayapala who was not favourably disposed to Jainism. The theme of the play is to depict the marriage of Kumārapāla (who preceded Ajayapāla) to Krpāsundarī, the daughter of the allegorical King Vivekacandra of the Puruşamanonagara, which had been attacked by Moharāja (the King of Delusion) as a spy (cara) named Jñanadarpana announces, and that the king had fled his kingdom and taken refuge in the tapovana (hermitage) of Hemacandra. All characters have allegorical appelations except King Kumārapāla of Pattana, Hemacandra, and the Vidusaka. All other characters are symbolic of the good or bad qualities in the human beings. The purpose of the play was to extend the sway of Jainism in the kingdom by making the king embrace that religion under the influence of which he would banish some of the vices in the State, such as gambling, meat eating, sunā (butcher), theft, drinking, vyabhicāra (prostitution), etc. These abstract qualities appear as characters and they lament that the former kings had permitted them to stay, but now this monarch wants them to leave except at the mansions of the gaņikās (courtesans). In the end, Moharāja is conquered with the help of the armour in the form of the Yogaśāstra and the "Vitarāgastuti" (prayer to Jina), the unseen Vidyā (knowledge), and returns the kingdom of the Manonagara to its king Vivekacandra. The play provides a fine example of the social and religious conditions of Gujarat of that time.
In the 13th century, Gujarat had been attacked from the south by the Yādava king Siñhana and from the north by the Muslim army at the same time. But Vastupāla, the illustrious prime-minister of King Viradhavala of Dhavalakakka (Dholkā), defeated both the invaders. To commemorate this famous victory, Jayasimha Sūri of Bhrgukaccha wrote a play named the Hammīramadamardana some time between A. D. 1221 and 1229. Since the play was penned by a contemporary writer, it contains useful historical material. It has five acts, the first two of which depict how Vastupāla succeeds in breaking up the alliance between the Yādava King and the Lata prince Sangrāmsimha
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