Sage and Madam.

- Window Seat-Udayan Thakkar

- Today we take the privilege of Sanskrit comedy 'Bhagavadjjukiyam'. The play was composed by Bodhayan (some say King Mahendra Varma) in the 7th century.

Sanskrit playwrights have mentioned 10 types of metaphor (drama). A play that is humorous is called comedy. Today we take the privilege of Sanskrit comedy 'Bhagavadjjukiyam'. The play was composed by Bodhayan (according to some, King Mahendra Varma) in the seventh century.

Coming to the stage first, Sadhuveshadhari Shandilya says: I was a Yajnopavitdhari Brahmin, but I started breathing food. Only Shraddhapind is found. He converted to Buddhism and joined the monastery for food. But those people were satisfied with a one-time begging. (It is clear from the outset that Shandilya Shiro has become a listener. There is no instinct in religion. Such a hypocritical character can be useful for comedy.

Shandilya says that he had to stay half-fasting in the monastery: I left the monastery, leaving the maidservants, begging, tearing the chivar. Hey, where did my new villain go? I have as much load as an ass! Fleeing for food? ('Dasiputra' means avaidya santana. Shandilya's language is vulgar, he does not maintain Guru's faith. Bharatmuni's rule is that women, servants etc. speak in Prakrit and men in Sanskrit. Shandilya's dialogues are in Prakrit, which is appropriate So, I guess I ran away to get alms.)

There enters the Guru (Parivrajaka or Yogi) of Shandilya. Parivrajaka instructs him to become Vitraag, who on hearing this asks Shandilya: Do you believe in it? There is a debate between the two. (It is not particularly conducive to dramatics but it establishes in the minds of the audience, Parivrajaka Gnani Purusha. Due to such discussions, the play is called 'Philosophical Comedy'.)

The guru-disciple's eye falls on a garden. The frightened Shandilya says to Guru: My mother used to say that there is a tiger here, so you enter first. I'll come back later. Jupiter enters fearlessly. The following dialogue is taken from the translation done by the poet Sundaram:

Shandilya: Ouch! I was blown away! Put me out of the mouth of the tiger. Alas, blood came out of this dock.

Parivrajaka: Shandilya! B ma, b ma, this is the bloom!

Shandilya: Is it really blooming? .. then open your eyes.

Parivrajaka: Happily.

Shandilya: Ho ho! Salo tiger! Take the form of a peacock from me!

Tangdi high on Mian Gira. Shandilya's cowardly bravery ('We are sepoy cubs!') Is a source of laughter. At the same time, in the name of Vasant Sena, the prostitute comes with her two girlfriends and sings a song, The minds of the sages were also aroused. (Apart from prose-dialogues in this play, there are 6 verses in verses like Indravajra, Shardulvikridit. There is ample scope for song, music, dance and acting.) Like a carpenter's mind, Shandilya's mind is on food. Praising the song, he says: Wow, sweet as oil is poured in pudding!

That is why the non-worldly character of Yamadoot enters. He describes his (wonderful awakening) journey that I have come across many nations-rivers-forests-mountains, Mogh-seas-Siddho-Kinnars. I want to lose the life of Vasant Sena. Yamadoot, who sees Vasant Sena in the park, describes it as follows: (Knowing that erotic juice comes first and then death comes to the mind of the spectator, the feeling of nirveda awakens.) In the form of a snake, Yamaduta bites Vasant Sena. Hearing the cries of his girlfriend, Shandilya requests Guru to avert death. Knowing that Guru is detached, Shandilya talks to him like this. (A dialogue that hugs a pit class audience.)

Guru thinks that Shandilya has to be shown the recipe of Yoga. He separates his prana from his body. Shandilya, on the other hand, comes to the dead spring and thinks: Alas, I could not touch these crazy breasts like ripe palm balls alive! (Ascetic Nandi notes that characters in Sanskrit comedies are portrayed as stupid. The performances are obscene, exaggerated and unbelievable.

At this moment, Jupiter enters the dead body of the prostitute. Looking at the disciple who is moving forward to touch, the prostitute shouts: Don't touch me except after washing! (The prostitute who has been speaking in Prakrit till now suddenly starts speaking in Sanskrit as the Guru's soul has entered into her.

'Shandilya: Ottari, this is very clean!'

When his mother approaches, the prostitute says, 'Shudra Dokri! Don't touch me! ' Assuming that the daughter is poisoned, the mother goes to see the doctor. Beloved Ramlik, while going to make love, the prostitute examines the cash, 'O Kalia, the plant is my pet.'

We agree with the late Lovekumar Desai that when a playwright has a 'pregnant moment', he makes comedy more and more entertaining. The doctor begins the experiment of poisoning:

'Hey Kundalkutilgamini, in Pace Mandal, in Pace Mandal, Vasukiputra should stand up, stand up, shoe..u..u..so, let me raise my head, where is the ax?'

(The audience can prove the doctor to be a swindler.) The prostitute recites the verses of Ayurveda and confesses defeat to the doctor. In it, Yamadoot enters with a sigh. He has cut raw. Instead of one, the lives of the other Vasant Sena have been taken in a hurry. Now where to put the life of a prostitute? Seeing Parivrajak's body numb, the life of a prostitute is fulfilled in it. The audience begins to go crazy.

Parivrajaka begins to speak in Prakrit instead of Sanskrit, also in a feminine tone. Seeing their eroticism, everyone is amazed. They invite the prostitute's lover Ramilak, 'Give me a hug!' Shandilya speaks, 'God is no more God, Ajjuka (Madam) is no more Ajjuka! This is Bhagavad-gt! ' (The meaning of the play's name is now understood.)

Yamadoot begs Parivrajaka to leave the body of the prostitute and enter his own body. Eventually Bay's life is established in his own body. (Such a story of Parakayapravesh is also found in the case of Shankaracharya. Bharti, who became a judge when he was doing his Shastrartha with Mandanmishra, asked a question about adornment. This motif is also used in the play 'Hayavadan'.)

This farce has been performed in many languages ​​of India. Madhav Ramanuja's translation 'Guru and Ganika' by late. Nimesh Desai played in Bhavai style. There are two English translations of this Sanskrit comedy, 'The Hummut and the Harlot' and 'The Priest and the Prostitute.'