विगतवर्षदशके विरचितानां नाटकानां संख्या तु भूयस्येव। वर्तमानगवेषिकया विगतवर्षदशके विरचितानि रूपकाणि त्रिसप्ततिसंख्यकानि संगृहीतानि, बहूनि पठितानि च। तेषां सर्वेषां केवलम् नामोल्लेखनमपि पत्रेऽस्मिन् न सम्भवेत् स्थानाभावात् कालाभावाच्च। तेषु केषाञ्चिद् दिग्दर्शनमत्र कृतम्।

आलोच्यनाटकानि तावत् मुख्यतः धाराद्वयमाश्रित्य वर्तन्ते।

1. पणप्रथाकुष्ठजातिभेदबाल्यविवाहादिकं समकालिकसामाजिकसमस्याजातमाश्रित्य विरचितं नवं वृत्तम्।
2. पुरातनम् रामायणाद्याश्रितम् स्वल्पज्ञातं बहुज्ञातं वा इतिवृत्तं नवीनदृष्ट्या नूतनाङ्गिकेन वा उपस्थापितम्। नाटकेषु कुत्रचित् गभीरः स्वरः ध्वनितः, कुत्रचित् व्यङ्गात्मको हास्यरसः (satire) परिवेषितः, क्वचिन्नाट्यकृतः आशा प्रतिफलिता, क्वचिन्निराशा हताशा वा।

पूर्वम् संक्षेपिकायाम् पञ्चदशरूपकाणि आलोचयितव्यानि इति उक्तमासीत्। तत्तु न सम्भवति। पत्रेऽस्मिन् वरविक्रयम्, बालविधवा, साक्षात्कारः, सोमप्रभम्, विडम्बना, एकचक्रम् इत्यादीनि कानिचित् रूपकाणि आलोचितानि कानिचित् प्रथमविभागतः कानिचित् द्वितीयविभागतः निर्वाचितानि किञ्च यानि सर्वाण्येव वस्तुदृष्ट्या वर्तमानसमाजस्थितौ सातिशयं प्रासङ्गिकतामवगाहन्ते।

     अत्र नाटकम् इति शब्दः आङ्गलभाषास्थित ‘drama’ इत्यस्य बङ्गभाषास्थनाटकम् इत्यस्य, संस्कृतभाषायाः ‘रूपकम्’ इत्यस्य च समर्थकः।

अनूपः

(लीलानाटकचक्रम्, व्याङ्गालोर, 1993) कर्णाटकस्य लीला राओ दयालु महोदयाकृतं दृश्यत्रयसमन्वितम् नाटकम्।

     नाटकेऽस्मिन् नायकः अनूपः वयसि युवा, कुष्ठरोगग्रस्तः सन् परिवारं परित्यजति। कुष्ठरोगिणां कृते यदारोग्यनिकेतनम् लोकावयात् बहिरेव वर्तते तदेवाश्रयति, नास्ति तस्य गत्यन्तरम्।

     अतः यद्यपि “कुष्ठरोगः न खलु संक्रामको व्याधिरेव अतः तस्मान्न भेत्तव्यम्”, “कुष्ठरोगाक्रान्ताः सर्वेष्वेव कर्मसु अधिकारिणः, न कथमपि ते परिवारात् समाजाद्वा वहिष्कारमर्हन्ति” इत्याकाराणि विज्ञापनानि पुनःपुनरेव वेतारदूरदर्शनसंवादपत्रादिप्रचारमाध्यमैः, प्रचारमापद्यन्ते तथापि यत् कुष्ठव्याधिग्रस्ताः समाजात् वहिष्कृता एव स्वपरिवारेषु अपि तेषाम् स्थानं नास्ति इत्येव नाटकेनानेन सुष्ठुतया प्रतिपादितम् इत्यतः वर्तमानसमाजस्थितौ अस्य प्रासङ्गिकता अनस्वीकार्या एव।

वरविक्रयम् – (नवरूपकम्, लक्ष्मी, 1992)

सोमप्रभम – (प्रेक्षणसप्तकम्, निउ दिल्ली, 1997)

कुर्यात् सदा मङ्गलम् – (नवमालती, निउदिल्ली 1997)

     वर्तमानसमाजे कन्यायाः पिता कथम् वरपक्षेण अधिकपणलाभार्थम् पीड्यते, कथं वा पणप्रथा अस्मद्समाजे दृढतया एव प्रोत्थिता तदेव चित्रितम् डॉ रामकृष्णमूर्त्तिमहोदयेन विरचिते ‘वरविक्रयम्’ इति नाटके, राधावल्लभत्रिपाठीमहोदयेन विरचिते ‘सोमप्रभम्’ इति नाटके , डॉ नोदनाथमिश्रमहोदयेन विरचिते ‘कुर्यात् सदा मङ्गलम्’ इति नाटके च। अन्यान्यपि सन्ति बहूनि नाटकानि यान्येव पणप्रथाया विरोधितामुद्घोषयन्ति। नाटकानीमानि विहार-आन्ध्रप्रदेश-मध्यप्रदेशादिविभिन्नप्रदेशेषु विरचितानि किन्तु तेषां वक्तव्यं न विभिन्नम्, परन्तु साधारणमेव। अन्यथा कथम् (Life term) शीर्षकः संवादः संवादपत्रे आगन्तुं शक्नोते? ‘वरविक्रयम्’ इति नाटके व्यङ्गात्मकः हास्यरसः (Satire) परिवेशितः अपरतः ‘सोमप्रभम्’ इत्यत्र, ‘कुर्यात् सदा मङ्गलम्’ इत्यत्र च गभीरः स्वरः ध्वनितः। नाटकेऽस्मिन् पञ्चमवर्षीयायाः सोमप्रभायाः साक्ष्यम् निपीडिताम् विमलाम् रक्षयति न खलु वास्तवसमाजे।

     कुर्यात् सदा मङ्गलम्

लोकनाथमिश्रमहोदयेन विरचितम् षड्दृश्यसमन्वितं करुणरसाश्रितं नाटकमिदम् यस्मिन्नेव नाटके विंशशताब्द्यामपि नारीणां करुणा दशा तावत् चित्रायिता। नायिका नीरजा खलु आविवाहात् पितुः भारसदृशी, विवाहात् परमेव श्वशुरकुले पणार्थम् नितरां निपीडिता न केवलं मानसिकं निपीडनम्, कायिकमपि च। अन्तिमे सा एव तपिस्विनी निहता।

     भवन्तस्तावत् कृपया त्रि-चतुर-पञ्चम-षष्ठसंख्याङ्कितेषु संवादेषु दृष्टिपातं कुर्वन्तु, सर्वत्र एव नीरजा विद्यमाना कुत्रचित् सा ‘याज्ञसेनी’, कुत्रचित् सुस्मिता, कुत्रचित् प्रतिमा वा परन्तु सर्वत्र निपीडिता, अन्तिमे निहता-, यौतकमेव सर्वत्र एकमेवाद्वितीयम् कारणम्। पणप्रथा सर्वत्र निन्दिता, यौतकं वर्जनीयम्, पणग्रहणं वर्जनीयम् इति सर्वत्रोच्चैरुद्घोषितम्, विधाइनद्वारा निषिद्धम्, तथापि इदमेव यौतकग्रहणं चलितम्, इदमेव चलति, इदन्तु चलिष्यति। एवम् उक्तञ्च “प्रथनं कन्यादानम्, पश्चात् कन्यादहनम्, पूर्वं वधूवरणम्, पश्चात् वधूदहनम्” इति।

पण्डितराजीयम् (नाट्यसप्तकम्, निउदिल्ली, 1992)

रमाकान्तशुक्लमहोदयेन विरचितम् अनवद्यम् रेडिओ-नाटकम्। पण्डितराजः जगन्नाथः ब्राह्मणः सन् शाह्जाहानस्य पालिताम् तनयाम् लवङ्गीम् सादरम् उपयेमे। समाजनेतृवृन्दः हिन्दु-मुसलमानयोः वैवाहिकं सम्बन्धं न कथमपि स्वीकरोति। अतः लवङ्गीं प्रति तेषां निर्यातनम् निपीडनम् कुत्सिताकारम् प्राप्नोति, लवङ्ग्याः मरणात् नास्ति उपायान्तरम् समाजनेतृणां शान्तये।

     पश्चिमवङ्गप्रदेशात् आगताः सर्वे विगत 1995 ख्रीस्टाब्दस्य संवादपत्रशिरोनामविषयम् अवश्यमेव स्मरिष्यन्ति, यत्र कलिकातास्थाया कस्याश्चित् महिलाध्यक्षायाः, अन्तिमसंस्कारः न कृतः यतः सा मुसलमानधर्मिणः कस्यचित् कविवरस्य सहधर्मिणी आसीत्। अतः नाट्यकृत् प्रतिष्ठापयति सहस्रवर्षात् प्रागेव यः कुसंस्कारः दृष्टः सोऽधुनापि सर्वथेव नापगतः नवीनतया समाजे प्रतिष्ठित एव। यथा तथा वा भवतु पश्चिमवङ्गसर्वेकारेभ्यः तदा प्रभृति नूतना विधिः निर्दिष्टा यत् उपरतस्य उपरताया वा दाहः भविष्यति उत समाधिः वा तदुपरि धर्मस्य अनुशासनं न चलिष्यति, मरणात् प्राक् येन यया वा यदभिलषितम् आसीत् तदेव भविष्यति।

साक्षात्कारः (नाट्यसप्तपदम्, निउदिल्ली, 1996)

अभिराजराजेन्द्रमिश्रविरचिते नाटकेऽस्मिन् सर्वत्र चयन (Selection) विषये यदेव प्रहसनम् प्रतिदिनम् वर्तमानसमाजे प्रचलति तदेव व्यङ्गात्मकहास्यरसेन सम्यगेव उद्घाटितम्।

     महाविद्यालयस्य कार्यालयलिपिकस्य चयनं भविष्यति। M.A. उत्तीर्णः हिन्द्याङ्गलटङ्कणाभिज्ञः योग्यतमः प्रत्याशी परन्तु लिपिकपदे तस्य चयनं न भवति, भवति तु कृपालोः यस्य पुटकात् पत्रमेव निःसृतम्, पत्रं तु लिखितम् राज्यस्य ऊच्चशिक्षामन्त्रीमहोदयेन। अतः अनन्तरामः उक्तः प्राचार्येण चयनसमितिमुख्येनयोग्यतातिशय्यात् स एव न मनोनीतः। “विशदीभूता तव योग्यता। त्वत्सदृशोच्चयोग्यतावन्तं जनं कथमहं लिपिकपदे नियोक्तुं शक्नोमि?”

विदुलापुत्रीयम् (मुम्बई, 1996)

एइच् भि. नागराजरावेण विरचितम् नाटकमिदं महाभारतस्य उद्योगपर्वस्थम् विदुलोपाख्यानमाश्रित्य विरचितम्।

     इदं दर्शयति यत् समाजस्य शत्रवः न सर्वत्र बहिरागताः, परन्तु व्याधि-दारिद्र्य-दुर्नीति-प्रभृतयः अस्माकम् शत्रवः, अतः एषाम् विनाशाय सर्वथैव प्रयत्नः कार्यः।

         एकचक्रम् (व्याङ्गालोर, 1990)

विदुषा एन् रङ्गनाथशर्मणाविरचितम् चतुरङ्कविशिष्टम् लघुरूपमिदं महाभारतस्य आदिपर्वस्थितम् भीम-वकासुरोपख्यानमाश्रित्य विरचितम्।

     वर्तमानसमाजे राजनैतिकनेतृणाम् नैतिक-अवक्षय-स्वार्थपरत्व-लोभादिकं प्रकटयतीदं रूपकम्। एकचक्रनगरस्य मन्दधीः दुर्बलश्च राजा, येनप्रतिश्रुतम् राक्षससकाशे – “प्रतिदिनम् आहारं वृषभादिमानुषञ्चेकं प्रेषयिष्यामि” इति। अथ राजा प्रजाः न रक्षति, परन्तु तेषां जीवनेन आत्मानं रक्षत्येव। एकत्र स्वार्थपरः राजा अन्यत्र ब्राह्मणपरिवारः यत्र सर्वं एव प्रथमम् वकासुरस्य भक्ष्यो भवितुमुद्यतः। अस्ति च कुन्ती या ‘सन्ति मे पञ्च पुत्राः, तेष्वन्यतमं त्वदर्थे प्रेषयिष्यामि’ इति वक्तुं शक्नोति। अतोऽत्र रूपके महाभारतोपाख्याने नूतनत्वमापन्नम् इदन्तु स्वार्थपरत्व-परार्थपरत्वयोः चरमसीमानं प्रदर्शयति।

     एतावत् पर्यन्तम् वस्तुदृष्ट्या नवीनत्वम् आलोचितम्। अधुना एतत् वक्तव्यम् यत् आधुनिकनाटकेषु संस्कृतभाषापि काञ्चिन्नवीनाकृतिमापन्ना यतः नूतनशब्दाः निर्मिताः, बाङ्ग्ला-ओडिया-हिन्दीप्रभृतिभाषाणां शब्दाः, अभिव्यक्तयः (Idioms) लोकोक्तयः अनायासेनैव प्रयुक्ताः, समकालिकभारतीयसाहित्यस्य वैदेशिकसाहित्यस्य प्रभावोऽपि अनस्वीकार्य एव।

     उदाहरणानि परिवेषितानि वोधसौकर्याय, सनातनी प्राकृतभाषा वर्जिता, बङ्गभाषा, महाराष्ट्रप्रादेशिकभाषा, वैदेशिकभाषा अपि प्रयुक्ता, ‘जननी’ नाटकस्य प्रस्तावना उदाहरणरूपेण प्रदत्ता।

     अधुना प्रतीकनाट्यानि नभोनाट्यानि गीतिनाट्यानि रचितानि, नाटकानि प्रायशः एकाङ्कानि, कुत्रापि पात्रादयः न केवलम् मञ्चस्थाः परन्तु दर्शकवृन्दात् एव समागताः। नाटकेषु बेकटब्रष्ट प्रभृतीनां स्मरणं जायते। (उदाहरणम्) कुत्रचिद्वा पात्राणि श्रेणीविशेषस्य प्रतिनिधित्वम् कुर्वन्ति, अतः स्वरव्यञ्जनसंहत्या एव परिचिताः। यथा कः खः गः घः इति, (अथ किम्) कुत्रचित् प्रेता एव पात्राणि, (चिताग्निः साक्षिरूपो वर्तते)। कुत्रचित् रोगः एव प्रधानचरित्रम्, कुत्रचित् नान्दी अस्ति कुत्रचिद् वा नास्ति। किन्तु प्रचलितप्रथा नानुसृता, एवम् भरतवाक्येष्वपि प्रचलिता प्रथा सर्वथा न अनुसृता, संगीतम् प्रवर्तितम्, कुत्रचित् श्रमिकगानम्, गजलगानम्, कीर्त्तनगानम् वा प्रवर्त्तितम्। (Flash-Back) प्रथा अनुसृता नेपथ्यध्वनिः (Back-ground music) अपि सुप्रयुक्तः।

     अतः विगतवर्षदशकस्य संस्कृतनाटकेषु तावत् प्राचीननवीनयोः अपरूपम् सहावस्थानम्, ऐतिह्याविष्कारयोः अनवद्यम् सम्मेलनं दृश्यते एव इत्यलम्।**

** উক্ত প্রবন্ধটি ‘সাগরিকা’ (৩৫/৩-৪) সংখ্যায় প্রকাশিত, পৃ. ৩৩।

What is the objective of my paper is very clear through the ‘abstract’ which has been distributed to all of you.

It goes without saying – In order to make proper justice to the topic which I have chosen, necessarily, I have to touch upon more or less five allied areas:

1. Harsavardhana’s reign
2. Banabhatta
3. Banabhatta’s Harsacaritam (hereafter HC)
4. Some aspects of Medical Science in Ancient India.
5. Some aspects of Medical Science as traced in Bana’s Harsacaritam

I quote from History of Ancient India, by R.S. Tripathi, –

            “The seventh century A.D. begins with the appearance of a remarkable figure on the political stage, and although Harsa had neither the lofty idealism of Asoka nor the military skill of Chandragupta Maurya, yet he succeeded in arresting the attention of the historians like both these rulers”.

There are very few among the rulers of india whose history is so rich in both contents and materials as the history of Harsavardhana.

To reconstruct the history of Harsavardhana’s reign the following contemporary works are worthmentioning:

1. Bana’s हर्षचरित।
2. Yuan Chwang’s or Hiuen Tsang’s Si-yu-ki i.e. Records of his travels.
3. A number of seals.
4. Epigraphs.

Among the last two to name the most important ones are:

1. Banskhera copper plate of Harsavardhana.
2. Madhuvan copper plate of Harsavardhana.
3. The Sonpat copper seal.
4. The Nalanda seals.

Which deserve mention.

            In all available resources mentioned above except very little in Hiuen Tsang’s description we hardly find any discussion on the prevailing medical practices until we come to Bana’s Hrsacaritam which has depicted a detailed account especially on the practical aspect of Medical Science developed during Harsa’s reign.

            Hiuen Tsang, the famous Chinese traveller was in India from 629 A.D. to 645 A.D. He has left extensive memoirs of his travels, in which he speaks in detail about a king Harsa who was the emperor of northern India. Although there are slight discrepancies in the accounts of Harsa furnished by Bana and the chineses pilgrim, the points of agreement are so many and so striking that there is not the least doubt that the emperor Harsa, the patron of Bana, is the same as the great monarch of whom theChinese pilgrim has left extensive notices. Harsa is said to have reigned from 606 A.D. to 648 A.D.

Therefore Bana must have flourished towards the end of the 6^th and in the first half of the 7^th century of the Christian era.

A good deal of evidence, may be set forth, which strongly corroborates the above conclusion regarding Bana’s date. Ruyyaka (1150 A.D) mentions Bana; Namisadhu, the commentator on Rudrata’s काव्यालङ्कार, Bhoja, Dhananjaya and others, confirm the date. Ksemendra, (latter half of 11 cen. A.D./1088 A.D) mentions Bana. Quotations from Ruyyaka, and many other references may be mentioned in this connection.

The Harsacaritam has the distinction of being the first attempt at writing a prose-kavya on a historical theme. He gives a contemporary picture which is indeed important but its importance as an document of political and social history should not be overrated.

Bana was the court-poet of king Harsavardhana (606 A.D. – 647 A.D.) of the pushyabhuti dynasty of Thaneswar and Kanauj. His work, the Harsacaritam, written about 620 A.D. is a contemporary account of deeds of Harsha during the earlier year of his reign. According to the noted historian Radha Kumud Mukherjee “thus in Bana Harsha found his Boswell.”

The progenitor of Bana’s family, Vatsa, lived in a place called Pritikuta (प्रीतिकूट) on the banks of the हिरण्यवाहु, otherwise called Sona; Bana’s mother, Rajadevi or Rajyadevi died while he was yet a child. He was all the more dear to his father, who was a very mother to him. Bana had the misfortune to lose his father chitrabhanu when he was about fourteen years old. Bana tells us that he thereafter led a wandering life.

Although Bana had ancestral wealth sufficient to maintain him in ease and comfort, yet his strong curiosity to see different lands impelled him to wander from place to place and made him an object of ridicule in the eyes of elderly contemporaries. According to some, he mixed in dubious company. However Bana, during his company acquired evil repute as well as a rich harvest of wisdom and experience.

Cf. अभवञ्श्चास्य सवयसः समानाः सुहृदः सहायाश्च। तथा च भ्रातरो पारशवौ etc: HC-I

Now, while defining Mammata says – शक्तिर्निपुणता लोकशास्त्रकाव्यद्यवेक्षणात् etc. (Kavyaprakasa- I) in which Dandin’s view regarding काव्यकारण has been repeated as it were.

नैसर्गिकी च प्रतिभा श्रुतं च बहुनिर्मलम्। अमन्दश्चाभियोगोऽस्याः कारणं काव्यसम्पदः।। Kavyadarsa- I

This combination of three elements may be traced in almost all the works of well-known litterateurs irrespective of language. The noted Bengali author Samaresh Basu (Kalkut) gives a vivid details of the foot-sores of the fishermen in his novel Ganga. His व्युत्पत्ति is prominently exposed in his another novel अमृतकुम्भेर सन्धाने too.

Somerset Maugham (1847-1965) spent his early and middle years in England or in farranging travel abroad in search of materials for numerous books, stories, numbering well over 200 are the finest products of his inexhaustible traveller’s mentality. As a traveller he wrote

           “I filled notebooks with descriptions of places and persons and the stories they suggested…. I kept my eyes open for character, oddness, personality…. I learnt very quickly when a place promised me something and then I waited till I got it.”

However in Harsacaritam we find Bana mentions as the companions of his wanderings a number of persons e.g.

अभवंश्चास्य वयसा समानः सुहृदः सहायाश्च। तथा च भ्रातरौ पारशवौ चन्द्रसेन-मातृषेणौ, भाषाकबिरीशानः, परं मित्रं, प्रणयिणौ रुद्रनारायणौ, विद्वांसौ वारवाण-वासवाणौ, वर्णकविः वेणीभारतः, … भिषक्पुत्रः मन्दारकः, जाङ्गुलिको मयूरकः, आक्षिकः अखण्डलः,…मस्करी ताम्रचूडः

Bana’s travel-companions were as diverse as from the writer to the dancing girl, from magician to musician, singer, painter, gambler, the snake-doctor; or dealer in antipoison, or antidotes; from a young physician to the manufacturer of dolls (पुस्तकृत्), from वांशिक or Flute-player to beautician (संवाहक).

            So it is quite natural there will be references to a number of places, varieties of characters and a number of शास्त्रs,

However, ample references to Medical Science scattered all over Harsacaritam are our present concern. We will come to this central point again after discussion of some other points directly or indirectly related to the central theme

Now, we would like to judge whether medical science was one of the subjects taught in ancient times or not.

According to Yuan Chwang, (Hiuen Tsang) the most distinguished centre of learning in that age was the far-famed University of Nalanda, which then counted 10, 000 students on its rolls. Even ‘foreign students came there to put an end to their doubts and then become celebrated’. Some of these came even from Mongolia. The history of this University needs special treatment, but here it is relevant only to notice such facts and conditions as are connected with the time of Harsa and with the medical science as well. The subjects of study at Nalanda, were not confined to Buddhism alone. Though the University specialized in the study of Mahayana Buddhism it did not exclude the study of the works belonging to the eighteen other sects of Buddhism, nor of such Brahminical sacred and secular subjects as the Vedas, the Atharva Veda, हेतुविद्या (Logic), शब्दविद्या (Grammar &Philology) चिकित्साविद्या (medicine), सांख्य, योग, न्याय and the like.

Comparable to Nalanda in the freedom of its academic life and the variety and catholicity of its studies as described by Yuan Chwang, there was another seat of learning, the hermitage of the sage fear दिवाकर मित्र, described by Bana in the VIIIth chapter of Harşacaritam. To that solitary and sylvan surroundings in the depths of the Vindhya forest was attracted all the varied culture of the age.

However, in these accounts of educational institutions we have an indication of the literature and circle of knowledge available in that age. Brahmanas learnt the Veda treatises including आयुर्वेद, यजुर्वेद, सामवेद and अथर्ववेद -as stated by Yuan Chwang.

According to I-Tsing who travelled in India a little later than Yuan Chwang, after the preliminary grounding in सिद्धवस्तु i.e. Sih-ti-chang Grammar and Composition with पाणिनि-सूत्रs, धातुs, काशिकावृत्ति, the students could proceed to a study of five subjects or Vidyas (both Yuan Chwang and I-Tsing are of same opinion) viz.

(i) शब्दविद्या – Sih-ti-chang i.e. Grammar and Lexicography.

(ii) शिल्पस्थानविद्या – Kiau-ming, the science of the Arts and Crafts.

(ii) चिकित्साविद्या – Medicine.

(iv) हेतुविद्या – Logic.

(v) अध्यात्मविद्या – Metaphysics.

So the third vidya is called चिकित्साविद्या or the medical treatise which embraces formulae for protection, secret charms, the use of medicinal stones, acupuncture and mugwort or herbal medicine etc.

From ‘Records of western countries’, we come to know,

“Every one who falls sick fasts for seven days. During this interval many recover, but if the sickness lasts they take medicine. The character of these medicines is different and their names also. The doctors differ in their modes of examination and treatment“.

Before focussing out attention on the central theme of our paper, a few remarks concerning the history of medical science upto the age of Bana in particular would not be out of place here.

It goes without saying that the elements of medical science including surgery, were known even in the Rgvedic times. This appears to be attested by some passages in RV praising Rudra and Surya as healers (RV II/334 and 1.55). The Asvina brothers are said (1/116/10) to have rejuvenated Cyavana. Besides, they provided an iron thigh to Vispala who lost that limb (1/116.15).

सद्योजङ्घामायसीं विश्पलायै

धने हिते सर्तवे प्रत्यधत्तम् ॥

Vispala was, an amazon i.e. a female soldier who lost her limb in a war. Moreover these brothers are referred to have cured blindness and leprosy (RV I/112/8, X/39/3).

याभिः शचीभिः वृषणा परावृजं

प्रान्धं श्रोणं चक्षसः एतवे कृथ: ॥

In the branch of medical science, Sanskrit has a very rich literature the fame of which spread beyond the boundaries of this peninsula specially in South and South East Asia in ancient times.

The main medical treatises in Sanskrit are the Caraka-samhita (1st Cen. AD), Susruta-samhità (perhaps contemporaneous with Caraka). Bhelasamhita, Astangasamgraha, Rugviniscaya or Nidana of Madhava (who flourished probably in the 7th Cen. A.D). Rasaratnākara, Rasaratnasamuccaya etc. Of medical dictionaries, noteworthy are Dhanvantari-nighantu, Sabdapradipa, Rajanighantu etc.

Apart from some rare books on medical science the information about medical science contained in the Puranas is rather exhaustive. Agni-Purana (hereafter AP). and Garuda-Purana (hereafter GP). deserve special mention in this context.

It is believed that the Puranas are 36 in no; of these, 18 are Mahapuranas and 18 Upa-puranas. The Puranic literature appears to have originated before 5th or 4th century B.C. The extant Puranas appear to have come into being before 7th Century A.D.

Now the Puranas contain invaluable materials for reconstruction of the early political history, of geography, and many more aspects of ancient India. For history. of medical science in Ancient India, especially of 7^th century the importance of Puranas can’t be denied.

A.P. is encyclopaedic in character and deals with the following subjects.

(1) Geography

(2) Astronomy

(3) Astrology

(4) Marriage and death

(5) Customs

(6) Omens and portents

(7) House building

(8) Iconography

(9) Usages of daily life

(10) Politics

(11) Art of war

(12) Medicine

(13) Metrics

(14) Poetics

(15) Grammar

(16) Lexicography.

GP is also an encyclopaedic work dealing with

(1) Rāmāyana, Mahabharata, Harivamsa,

(2) Cosmography,

(3) Astronomy,

(4) Astrology,

(5) Palmistry,

(6) Medicine,

(7) Metrics,

(8) Grammar,

(9) Precious stones

and many more subjects. A considerable portion of the याज्ञवल्क्य स्मृति is included in it.

Again we come back to the central theme of our paper. Ample references to Medical Science scattered all over Harsacaritam are our present concern.

In Ch. I of HC, Bana refers to

• Opthalmic diseases:

त्रेताग्नि – धूमाश्रुपातजलक्षालितइवाक्षीयन्त कुदृष्टयः ॥

In Chapter IV while delineating the valour of a Bana says

तेषु चैवमुत्पद्यामानेषु क्रमेणोदपादि हुण-हरिण-केसरी, सिन्धुराज-ज्वरो गुर्जर प्रजागरो, गान्धाराधिप-गन्धद्विप कूटपाकलः

कूटपाकलः is a dreaded disease common to elephants.

“कूटो नामाशुघातनमाशुघातनं द्विरदानाम्

तस्मात् कूटपाकलम् आचक्षस्मह इति”

प्रभाकरवर्द्धन was very much intimidating to his enemies just like a very lion to the deer in the form of Hunas; just like a कूटपाकलः disease to the elephants.

गन्धद्विप is an elephant of the best type; ‘पाकल:’ is a fever which attacks elephants; ‘कूट’ is one of the varieties and it is the deadliest of all.

Other references to the diseases of horses and elephants are found scattered in Harsacaritam.

Bāna says प्रभाकरवर्द्धन was as dreadful as ‘ज्वर’ to ‘सिन्धु’ king. According to GP. the words रोग, पाम्मा, ज्वर, व्याधि, विकार, दुष्टम्, आमय, आतङ्क, गद, वाधा, यक्ष्मा are all synonyms of sickness.

In the Medical Science of Ancient India, ‘ज्वर’ or fever has been repeatedly mentioned with great importance. Since fever is the manifestation of many diseases, it should be considered very carefully, ‘ज्वर’ is occasionally identified with ‘यक्ष्मा’. Caraka categorically says fever is curable if it is not very complicated and if it appears in persons having sufficient bodily strength to fight it out.

In certain cases the fever or ‘ज्वर’ may turn to be fatal.

“हेतुभिर्बहुभिर्जातो बलिभिर्बहुलक्षणः ।

ज्वरः प्राणान्तकृद् यश्च शीघ्रमिन्द्रियनाशनः ॥”

Caraka Samhita/Cikitsasthana

Besides in 4th chapter, of HC यशोमती has beautifully been described with her pallor, with her slow and restricted movement, her hard breathing, slightly pallid body, dark nipples of her breasts due to pregnancy. Again Yasomati has been vividly shown as having a number of lady attendants.

(i) सख्युत्सङ्गमुक्तशरीरा च शरीरपरिचारिकाणामङ्केषु सपत्नीनां तु शिरःसु पादौ चकार ।

(ii) आत्मोचिततस्थाननिषण्णाश्च महान्तो विविधोषधिधरभिषजो भूधरा इव भूवो धृतिं चक्रुः ।

A group of veteran surgeons or doctors were keeping continuous vigilance and were ready with different kind of remedial medicines during the time of यशोमती’s delivery.

In 4^th ch. when प्रभाकरवर्द्धन was sounding cautions to his sons against swindlers, Bana uses उन्मादरोग as उपमान

गीत-नृत्य-हसितैः उन्मत्तताम् आवहन्ति उपेक्षिता विकारा इव वातिका etc.

Just as वातिक or imbalance of वात, or wind leads to उन्माद रोग or insanity, so also धूर्त्त if they are ignored become much harmful to the kings.

It will not be irrelevant to mention here, that the ‘pivot’ round which the Indian medical science revolved is the conception that the body is preserved and guided by the three vital elements viz. wind (वात), bile (पित्त) and mucus (कफ). The body is fit when these are in a balanced condition. Due to the imbalance of these three humours, (त्रिदोष), the body becomes vulnerable to the attack of diseases. To these three i.e. वात, पित्त and कफ some added a fourth viz. blood.

When हर्षवर्द्धन was coming back to the capital he found some servants who were sitting outside धवलगृह and they were discussing the symptoms of the incurable disease. Someone, among the servants sitting outside, laid bare the errors on the part of the doctors.

केनचित्चिकित्सकदोषानुद्भावयता।

केनचित्साध्य-व्याधिलक्षणपदानि पठता॥

In Medical Science of ancient India, diseases are generally classified into three classes, साध्या, दुःसाध्य and असाध्य i.e.

(1) curable

(2) difficult to be cured/not easily curable

(3) incurable,

Perhaps प्रभाकरवर्द्धन’s disease was of third type and as such

The medical literature of ancient India was divided into eight principal branches –

(1) शल्यतन्त्र – major surgery

(2) शालाक्यतन्त्र – minor surgery (diseases of the eye, ear and other parts of the head)

(3) कायचिकित्सा- therapeutics

(4) भूतविद्या – demonology

(5) कुमारविद्या – pediatrics

(6) अगमतन्त्र or अगदतन्त्र – toxicology pertaining to poison

(7) रसायन – elixir or cure-all remedy

(8) वाजीकरणतन्त्र – aphrodisiac pertaining to sexual diseases.

In HC we find unlike other physicians रसायन who was the house-physician and who ‘कुलक्रमागतो गतः पारम् अष्टाङ्गस्य आयुर्वेदस्य,’ who was cherished by प्रभाकरवर्द्धन on the same footing as a son, the young man by his profound study of the science of medicine understood that the king would not live for more than a day. ‘असोऽब्रवीत्-देव। श्वः प्रभाते यथावस्थितमावेदयितास्मि’।

Diseases were classified into four categories

• Organic e.g. fever, (Tumor, Cancer may be included) leprosy (शारीरा)
• Mental e.g. anger, envy, Insanity (मानसा)
• Extraneous e.g. agantuka, Emergency wound (आगन्तुक)
• Functional e.g thirst, any kind of inflammatory fever, Diabetes (सहजा), malfunctioning of Thyroid etc. It has been stated in AP the diagnosis of diseases consist of five essential categories. शारीर-मानसा-गन्तु-सहजा व्याधयो मताः शारीरा ज्वरकुष्ठाद्याः सहजाः क्षुज्ज्वरादयः । A.P 280/1-2

The pathology of diseases falls into five categories, viz.

(i) पूवरूपो – precursor or incurbatory stage

(ii) रूप – symptoms

(iii) उपशम – amelioration (improvement)

(iv) शमप्राप्ति – location

(v) विज्ञान – diagnosis (रोगनिर्णय)

Now this paper will show how Bana quite conversant with both the theoretical and practical aspects of Indian Medical Science, gave a detailed and true account of the symptoms, remedial measures, amelioration, dietetics, diagnosis and many more aspects of Indian medical science while delineating king Prabhakaravardhana in his deathbed at Dhavalagrha and how the said factors are very much relevant in modern world also.

However, it has already been stated according to the medical science, diseases are originated through the imbalance of the bodily humours, which disturbs the state of their equillibrium.

The mdoe of this pathology differs with the differences of the prevailing season, number, nature, strength, predominance or neutrality of different morbific principles involved.

Svasa (Dyspnoea) is caused by chronic or aggravated cough or the morbific principles of the body. Exposure to dust, storm, smoke, cold wind blow on vulnerable points of nerves, arteries, vomitting, mucous dyscentry, fever, poisoning etc. are causes. (GP. 154, 1-8). Initial symptoms are acute pain about the heart and the sides, contrary direction of breathwind, long-drawn breath, pain at temporal bones and tympanites. (कर्णपटह). Five types of श्वास e.g. क्षुद्रक, तमक, छिन्न, महन्, ऊर्ध्वश्वास are enumerated in Indian medical science.

From the symptoms of the disease of Prabhakaravardhana it may clearly be interpreted that he had been suffering from महाश्वास combined with महाहिक्का as nomenclatured in Medical Science. Though these names were not found anywhere in ch. V. of HC but the symptoms of both the diseases were very much prominent in the description of the ailing king.

Symptoms of महाश्वास are- suppressed stool and urine, dry throat and mouth, hard and rapid respiration, drops of sweat on forehead, severe pain in head and temples, finally death.

There are five kinds of ‘hiccough’ enumerated as अन्नज, क्षुद्र, यमल, महाहिक्का and गम्भीर of which symptoms of महाहिक्का are Drooping eyebrows, unconsciousness, new pain in all sense organs, pain at heart, yawning and spasmodic jerks in limbs.

Almost all the symptoms are depicted for प्रभाकरवर्द्धन at his death-bed. The symptoms prescribed in the medical texts may not resemble exactly but we can find a remarkable similarity in the manifestation of the disease of प्रभाकरवर्द्धन. The symptoms identified in Harşacarita are as follows –

(1) Severe pain throughout the body including head and temples. As it is said by Bana

(a) अनवरतपरिवर्तनै: H. C.-V, P-23

(b) अङ्ग-भङ्ग-वलनोत्क्षिप्तभुजयुगलम्: H. C.-V, P-23

(C) ग्रासीकृतमिव गात्रभङ्गेन: H. C.-V, P-23

(d) वट्यमानमिव वेदनाभि: H. C.-V, P-23

प्रभाकरवर्द्धन was languishing in pain in all the organs; he had breaking of limbs. The stiffness of body has been repeatedly indicated.

(2) The inflamation of the veins is indicated in the following statement: –

(a) दुर्धरवेदनो-न्नमन्-नीलशिराजालक-करालेन… H. C.-V, P-23

(3) He heaved hot breaths; he had hard and rapid respiration as indicated by the following–

(a) मृगतृष्णिकामिव उष्णां निःश्वास-परम्परामुद्वहन्तम्: H. C.-V, P-23

(b) सततं श्वासिते… H. C.-V, P-23

(4) He had a dark tongue, which indicated that he was in the stage of सन्निपात। सन्निपात is the combined derangement of the three humours of the body वात, पित, कफ causing fever which is of a dangerous kind and is fatal It is said.

“श्यामायमानया रसनया निवेद्यमान- दारुण-सन्निपातारम्भम्”

तन्द्रिक, one variety of सन्निपातज्वर is described as follows in योगरत्नाकर

“प्रभूता तन्द्रार्तिर्ज्वरकक्षपिपासाकुलतरो भवेच्छयामा जिह्वा पृथुलकठिना कन्टकवृता” etc.

(5) High body-temperature of the King is described again and again

(a) ज्वरज्वलनेन,… H. C.-V, P-23

(b) अत्युष्ण-अवयव-स्वर्श-भस्मीभूत, H. C.-V, P-23

(6)Dry throat and mouth as indicated by

(a) शुष्कास्यवाजि, etc. H. C.-V, P-23

(7) Frequent yawning is indicated by जितं जृम्भिकाभिः…, H. C.-V, P-23

(8) Occasional unconsciousness is indicated by स्पृशन्तीं प्रणयिनीमिव विश्वासभूमिं मूर्च्छामपि वहुमन्यमानम् meaning the king welcomed a swoon when it came over him, because it was a source of relief.

Now the remedial measures of the above-mentioned symptoms are described as follows:

Relief for the dry mouth & throat was made-

अनुजीवि-पाय्यमानोच्चषक-धारा वारिविनोद्यमाना-आस्यरुजि, H. C.-V, P-23

It is common experience that thirst is allayed much more quickly if one pours a stream of water into the mouth than if one holds the cup to the lips. According to the translation of prof Cowell and Mr. Thomas “attendants were drinking streams of water from uplifted cups in order to distract the pain of the king’s dry mouth.” But following Pandit P. V. Kane we would like the reading पाय्यमान for पीयमान ‘would be’ where the pain of the dry mouth (of the king) was removed by streams of water (without cups) which he was made to drink by the attendants. पाय्यमान reading is more comfortable since it is not practical that how the king’s dry mouth would have been relieved if the servants drank water! Moreover, उच्चषकम् अपगतपानभाजनम् don’t mean ’empty cups’ but rather without a cup. However, the reading उच्चषकम् is better.

Thus the full sentence should stand as follows

अनुजीवि-पाय्यमान-उच्च-चषक-धारा-वारि विनोद्यमाना-आस्यरुजि-

which means that the water was poured from a cup held high up and not from a cup applied to the lips. This can easily remind one of ‘Feeding cup’ used for the patients in the Hospitals etc.

मस्तु i.c. whey in Bengali माटा तोला घोल, वा छानार जल

नाश्यान-पङ्क-लिप्यमान-नव-भाण्डगत-गण्डूप-ग्रहण-मस्तुनि H. C.-V, P-23

The cool whey was probably required for relieving the dryness of mouth of the patient who used it as a gargle from time to time.

मुहुर्मुहु-राहूयमान-तोय-कर्मान्तिक-अनुमित-घोरातुरतृषि H. C.-V, P-22, meaning a servant was being called upon frequently to supply water to give some relief to the dry throat and the mouth of the king.

तुषार परिकरित-करक-शिशिरीक्रियमाण उदश्विति- where buttermilk (घोल in Bengali) was being cooled (frozen) in jars (करक कमण्डलु) that were covered in ice. उदश्वित् is buttermilk that contains 50 percent water (तक्रं ह्युदश्विन्मथितं) which reminds one of application of icebag whatsoever. The frozen buttermilk was probably applied to the burning feet and head of feverish king which can easily remind one of the application of ice-bag or pouring of water on the head of the patient in the medical treatment of modern age also.

The lotus leaves, fibres and flowers were all used to produce a cooling effect. It is said सनाल-नीलोत्पल-पूली-सनाथ सलिलपान-भाजनभुवि… H. C.-V, P-22 श्वेतार्द्र-कर्पटार्पित-कर्पूर-पराग-शीतलीकृत-शलाके (श्वेतार्द्रे कर्पटे (piece of cloth) अर्पिताः कर्पुरस्य परागाः तेन शीतलीकृता शलाका यस्मिन्) The stick treated with camphor powder was to be applied to the eye to produce a cooling effect.

The importance of taking water is always stressed in Indian medical Science. It is said –

कुक्षे र्भागद्वयं भोज्यैस्तृतीये वारि पुरयेत ।

वायोः सञ्चरणार्थाय चतुर्थमवशेषयेत्

It will not be out of place to mention that sealed drinking water was brought for emperors.

In order to reduce body temperature lotus-petals, sandalwood-paste were being applied very requently.

In order to quench the thirst, water was being supplied regularly and in order to make it free from the germs water was first boiled and then cooled and thus the germfree water, first boiled and then cooled was provided for a patient for drinking even in those days also. Bāṇa says

धारा निपात-निर्बाप्यमान-क्वथिताम्भसि H. C. V. P.22.

निबिड़-दुकूल-पट्ट-निपीड़ित- केशान्त-कथ्यमान-कष्टवेदनानुबन्धं मूधीनं धारयन्तम् Pravhākara-vardhana’s. head was bound tight with silk cloth around the skull because he was suffering from ceaseless headache and balm was being applied on his forehead. प्रेष्या-पेष्यमाण-ललाट केपो-उपदग्ध-हृषदि etc. H. C. V. P.-22.

Now, there is remarkable similarity between the diet and medicine prescribed by the medical texts and the same provided for the king.

It is said in the Agnipürana –

कैलत्थ-मौद्रको-रास्ना- शुष्कमूलक-जाङ्गलै:

पूपैर्वा विष्किरैः सिद्धै- र्दधिदाड़िम-साधितैः

मातुलुङ्गरस-क्षौद्र-द्राक्षाव्योषादि-संस्कृतैः

यव-गोधूम-शाल्यन्नै-भोजयेत्-श्वास-कासिनम् AP. 279/20,21.

However, ‘Dietetics’ was a very deveoped branch of study in Indian medical Science. It is sad in पथ्यापथ्यम् ।

“विनापि भेषजैव्याधि पथ्यादेव निवर्त्तते

न तु पथ्यविहीनानां भेषजानां शतैरपि “

A disease can be cured fully by proper diet and on the other hand, the application of hundreds of medicines are useless without proper diet.

However, in H. C we find Harsa entered the inner court smelling the odour of boiling decoctions of butter and oils that were being heated.

विविधौ-षधि-द्रव-गन्ध-गर्भम् उत्क्वथतां क्वाथानां सर्पिषां तैलानां च प्रपच्यमानानां गन्धमजिघ्रन्नवाप तृतीयं कक्ष्यान्तरम्। H. CV, P-22

In medical text, Diet for treatment of Svasa is prescribed as कुलत्थ and मुद्ग pulses prepared with rāsnā, curd, honey, juice of मातुलुङ्ग, grapes, wheat, barley or boiled शालि rice and Decoction of ginger and शर्करा or sugar etc. Besides, long pepper, sugar, ginger with honey are prescribed for treatment of ‘hiccough’ too.

शर्करा both white and red are mentioned in H. C too while describing धवलगृह

(a) पटुपाटलशर्करा आमोदमुचि H. C.-VP-22

(b) मसार-पारी-परिगृहीत-कक4-शकरे H. C.-V, P-22

A paste of flour and curds was held in a yellow emerald cup.

शिशिरोषध-रस-चूर्णावकीर्ण-स्फटिक-शक्ति-शङ्ख-सञ्चये H. C.-V, P-22

Moreover, myrobalans (आमलकि), grapes were stored. The myrobalans are said to be very much effective for removing the three ‘dosas’ (त्रिदोष) i.e वात, पित्त, कफ। ‘मातुलुङ्ग’ citron according to P. V. Kane, it resembles Marathi महालुंग. However, मातुलुङ्ग may be identified with मौसाम्वी as we call it in Bengali.

महाश्वास and महाहिक्का both are said to be incurable diseases finally leading only to the death and that is why Rasāyaṇa, the then renowned medical practitioner never gave any hope for survival of प्रभाकरबर्द्धन। When asked by Harsa –

“रसायन कथय तथ्यं यदि असाधु इव पश्यसि” (H. C. VP-25) Rasāyana avoided the direct reply and answered “देव, श्वः, प्रभाते यथावस्थितम् आवेदयितास्मि (H. C. V P-25). On the next day Rasáyana, of noble birth preferred entering fire than conveying unwelcome and distressing words of king’s impending death.

Bana repeatedly hinted at the last journey of प्रभाकरबर्द्धन using a number of beautiful but poignant expressions.

(i) परलोकविजयाय नीराज्यमानमिव a i.e Fever was the fire and the king was about to proceed as it were to the next world and was performing religious ceremony or नीराजना. Other similar expressions are as follows: –

(ii) क्षयकाले शुष्यन्तम् H. C.-V, P-23

(iii) लोकान्तरप्रस्थितम् H. C.-V, P-23

(iv) कालकटाक्षपतनशबलमिव शरीरमुउद्वहन्तम् H. C.-V, P-23

(v) महाप्रस्थानकाले… सञ्चारयन्तम् H. C.-V, P-23

(vi) कालेन क्रोड़ाकृतम् H. C.-V, P-23

(vii) दैवेन आदित्सितम् H. C.-V, P-23

(viii) निरूपितं नियत्या H. C.-V, P-23

(ix) परिकलितं परासुतया H. C.-V, P-22

(x) मुखे महाप्रवासस्य H. C.-V, P-22

अन्तिकेऽन्त्य उच्छ्वासस्य who was near the last breath, who was broken in words- विरलं वाचि प्रचुरप्रलापे profuse in incoherent speech, was waiting his last breath.

Thus from the above deliberation it can fairly be concluded that during 7th century A. D. Indian medical science was in a appreciably developed stage which was evident from the classification of diseases, symptoms, dietitics, application of medicines diagnosis etc. as reflected in Banabhatta’s Harşacaritam, an outstanding work of highest literary value, in the portrayal of प्रभाकरवर्द्धन at his deathbead.

पश्यत्वार्थः क्व परमाणुपरिमाणं वटुहृदयम्

क्व समस्तब्रह्मस्तम्भव्यापि देवस्य चरितम्

क्व परिमित-वर्णवृत्तयः कतिपये शब्दाः

क्व संख्यातिगास्तद्गुणाः,

Bana himself said, “it is daring to attempt delineation of Harsha’s character with such a limited capability, so as to describe his all-pervading actions with a few sentences or words.”

I would like to conclude with the same spirit, “every details relating to only one aspect of Bana’s work with my limited capability as well as within this short span of time, the capability is as small as that of an atom, is quite impossible. In spite of that

तथापि नृपतेर्भक्त्या भीतो निर्वहणाकुलः ।

करोम्याख्यायिकाम्भोधो जिह्वाप्लवनचापलम् ॥

“Through my devotion to my king (Harsa), being undismayed and eager to carry out (my undertaking) make bold to plunge with my tongue in the ocean of आख्यायिका।”

In the same spirit, I would like to say through my strong devotion to Bāṇabhatta and eagerness to refresh myself and to refresh you i.e all the participants too I have made a humble attempt to plunge with my ‘pen’ in the ocean of ‘हर्षचरितम्’ ।

Abbreviations Used:

AP – Agnipuranam, edt. By Tarkaranath, Calcutta, 1389 BS 1^st ed.

GP – Garudapurana, edt. By Tarkaranath, Calcutta, 1392 BS 1^st ed.

HC – The Harsacharita of Banabhatta, edt. By P.V. Kane, 1917, Bombay.**

**  এই শোধপ্রবন্ধটি ‘অন্বীক্ষা’ (Vol- XXVI, 2005) সংখ্যায় প্রকাশিত, পৃ. ১৩।

কবি সীতানাথ আচার্য ও তাঁর কাব্য সম্বন্ধে আলোচনা করতে গেলে রবি কবির সেই পংক্তিটি বার বার মনে পড়ে-

‘আমি পৃথিবীর কবি, যেথা তার যত ওঠে ধ্বনি

আমার বাঁশির সুরে সাড়া তার জাগিবে তখনি।’

         সত্যিই আচার্য কবির ‘দিবস বিভাবরী’ ভরে উঠেছে ‘সুরের গুরু’র অমূল্য, অবিশ্রান্ত এবং বিচিত্র দানে। সীতানাথের বাঁশীতে উঠেছে তাই নব নব তান, নতুন সুর, নতুন ছন্দ। ‘সৃষ্টি সুখের উল্লাসে’ মেতে উঠেছেন এই কবি বিচিত্র তাঁর কাব্যসম্ভার। কত কাব্যই না লিখেছেন সীতানাথ। সারস্বত চর্চায় যেহেতু সীতানাথ বৈচিত্র্যের সন্ধানী, তাই তাঁর কাব্য প্রবন্ধ সবকিছুই বিষয় বৈচিত্র্যে পূর্ণ। অন্যত্র বলেছি, ‘বিভিন্ন ধরণের কবিতা বা কাব্য রচনা করেছেন আচার্য কবি, কখনও গীতিকাব্য- গীতিকাব্যের মধ্যে কখনও রোমান্টিকতাই প্রধান, কখনও বা সমাজের সমস্যা বা রাজনৈতিক বা আর্থ-সামাজিক সমস্যা রয়েছে কেন্দ্রবিন্দুতে, কবিতার মধ্যে কখনও মূর্ত হয়ে উঠেছে দেশাত্মবোধ, জাতীয়তাবোধ, কখনও রূপকল্পের মধ্যে ফুটে উঠেছে জটিল ঘূর্ণাবর্ত সময়ের প্রতিচ্ছবি, কখনও বা কাল চেতনায় আক্রান্ত পেলব কবিমনে ধূমায়িত বহ্নির প্রতিচ্ছবি, কখনও বা জগতকে দেখছেন ধ্যানীর মত গম্ভীরভাবে শান্তভঙ্গীতে, আর কখনও জীবনযন্ত্রণায় ক্ষতবিক্ষত মানুষের জন্য ডুকরে কেঁদে উঠেছেন।’ (দ্রষ্টব্য- সীতানাথ আচার্য : কবি ও প্রাবন্ধিক, পৃঃ ১৫-১৬)

         দেশের প্রতি, মাটির প্রতি, দেশমাতৃকার প্রতি তাঁর নাড়ীর টান একাধিক কবিতায় প্রতিধ্বনিত হয়েছে- কখনও অভিধার আশ্রয়ে, কখনও লক্ষণা আর কখনও বা সরাসরি অভিধামূল বা লক্ষণামূল ধ্বনির আশ্রয়ে।

         একদিকে বর্তমানে পরিবেশ দূষণ অন্যদিকে ভারতীয় সংস্কৃতির মূল মন্ত্র পরিবেশরক্ষণ- পাশাপাশি তুলে ধরেছেন সীতানাথ তাঁর ‘আরণ্যষড্বিংশিকা’ কবিতাটির মাধ্যমে। ২৬টি শ্লোকের সমন্বয়ে রচিত এই কাব্যে প্রধানতঃ অনুষ্টুপ্ ছন্দ ব্যবহৃত হলেও ইন্দ্রবজ্রা, উপেন্দ্রবজ্রা প্রভৃতি ছন্দের অনবদ্য প্রয়োগ কুশলতাও লক্ষণীয়।

         অরণ্যদেবী অথবা অরণ্যমাতার কাছে মানবসভ্যতার ঋণ অপরিশোধ্য, চিরন্তন, অন্তহীন। মানবসমাজের শৈশব অতিবাহিত হয়েছে অরণ্যমাতার স্নেহসিক্ত কোলে। অরণ্যজননীর কোলে অবস্থিত সমাধিমগ্ন ঋতদ্রষ্টা ঋষিদের চিত্তে ঋক্মন্ত্র প্রতিভাত হয়েছে। সেখান থেকেই উত্থিত হয়েছে সামগীত।

‘মাতস্তবাঙ্কে বসতাং শুভে পুরা

সমাধিমাস্থায় বিশোধিতাত্মনাম্।

বিচিত্রবর্ণাঃ প্রতিভাসিতা ঋচ-

শ্চিত্তে মুনীনামভবং চ দুর্লভাঃ।।’

‘অরণ্য’-কে, প্রকৃতিকে এই যে মাতৃসম্বোধন, তাঁকে বার বার ‘বরাভয়প্রদে’ ‘প্রদূষণবিঘাতিকে’, ‘শুভঙ্করি’ ইত্যাদি নানা অর্থবহ বিশেষণে বিভূষিত করা- আমাদের মনে করিয়ে অথর্ববেদের ভূমিসূক্তের সেই মন্ত্র- ‘মাতা ভূমিঃ পুত্রো২হং পৃথিব্যাঃ’। সেই মায়েরই অঙ্গচ্ছেদনে তৎপর আমরা। সীমাহীন আমাদের নিষ্ঠুরতা। আমাদের কি মনে পড়ে না- আমাদের অর্থাৎ এই মানবসভ্যতার বাল্য অতিবাহিত হয়েছে এই অরণ্য- মায়েরই কোলে-

‘শৃণ্বতাং মধুরাং গীতিং

বিহগ কূজনাত্মিকাম্।

ব্যতীতং বাল্যমস্মাক-

মিতি ন স্মর্য্যতে২ধুনা।।’

অরণ্যের কোলেই আদিকাব্য রামায়ণ রচিত হয়েছে- ‘ধ্বন্যালোক’-কার বললেন-

‘কাব্যস্যাত্মা স এবার্থ

স্তথা চাদিকবেঃ পুরা।

ক্রৌঞ্চদ্বন্দ্ববিয়োগোত্থঃ

শোকঃ শ্লোকত্বমাগতঃ।।’

তারপর থেকে কূলপ্লাবিনী কাব্যধারা সহস্রদিকে ছড়িয়ে পড়েছে।

‘মাতস্তদীয়ায়তনে কদাচিৎ

স্নাতুং প্রযাতস্তমসাং স্রবন্তীম্।

মুনেশ্চ বল্মীকভবস্য চিত্তে

ছন্দো নবীনং স্ফুরিতং বভূব।।’

রঘুবংশের কবিও বললেন- ক্রন্দনরতা সীতার সামনে এসে দাঁড়ালেন সেই কবি কোন কবি? ‘নিষাদবিদ্ধন্ডজদর্শনোত্থঃ শ্লোকত্বমাপদ্যত যস্য শোকঃ’ – ব্যাধের বাণে বিদ্ধ ক্রৌঞ্চকে দেখে যাঁর শোক শ্লোক হয়ে প্রকাশ পেয়েছিল সেই কবি।

         কালিদাস, ভবভূতির কাব্যেও উপলব্ধ হয় অরণ্য প্রকৃতির শাশ্বত স্থান। অরণ্যদেবী, যে শকুন্তলাকে সযত্নে লালন করেছিলেন, তার পুত্র ভরতের নামেই চিহ্নিত হয়েছে আমাদের দেশ- ভারত। সীতানাথ কবি বলেছেন-

‘অরণ্যলক্ষ্মি! ত্বয়কাতিযত্নতঃ

শকুন্তলা নাম সুতা সুপালিতা।

পুরা সুতং যা যমসূত সাধ্বী

তস্যাখ্যয়া নঃ প্রথতে হি দেশঃ।।’

         প্রসঙ্গতঃ বলি, কালিদাসের কাব্যে এই অরণ্যপ্রকৃতি  মানবসমাজের থেকে পৃথক, কোন সত্তা নয়, তাই তারা মানুষের সুখে হাসে, মানুষের দুঃখে কাঁদে। সীতার করুণ ক্রন্দন শুনে তাই ময়ূরের নাচ থেমে যায়, গাছের ফুল ঝরে পড়ে, হরিণীরা মুখ থেকে কুশের গ্রাস ফেলে দেয়। সীতার বেদনায় সমব্যথী অরণ্যও আকুল হয়ে কাঁদে-

‘নৃত্যং ময়ূরাঃ কুসুমানি বৃক্ষা

দর্ভানুপাত্তান্ বিজহুর্হরিণ্যঃ।

তস্যাঃ প্রপন্নে সমদুঃখভাবম-

ত্যন্তমাসীদ্রুদিতং বনে২পি।।’

তপোবনলালিতা শকুন্তলার বিরহে তপোবনের কান্না আজও আমরা শুনতে পাই। কুমারসম্ভবেও একই প্রকৃতিপ্রেম মূর্ত হয়ে উঠেছে।

         আধুনিক কবি সীতানাথও ভোলেননি অরণ্যের আশ্রয়ে গড়ে ওঠা শান্তরসাস্পদ তপোবনগুলির কথা, ভোলেন নি এই তপোবনগুলিই ভারতের বিশিষ্ট সংস্কৃতির উদ্ভবস্থল। অরণ্যের প্রেরণাতেই ঋষিচিত্তে উদ্গত হয়েছিল ঔপনিষদিক দর্শনচিন্তা। দূষিত বাতাস আত্মসাৎ করে নীলকণ্ঠ স্বরূপা অরণ্যমাতা আমাদের নিয়ত রক্ষা করেছেন। কিন্তু সেসব আমরা ভুলে গেছি-

‘এতচ্চ সর্বং তব কর্মপূতং / প্রচ্যাবিতং ভাতি হৃদো২দ্য মানবৈঃ।’

         সীতানাথের প্রণাম যেন কবির ভাষায়-

‘ও আমার দেশের মাটি

তোমার পরে ঠেকাই মাথা।’

         ক্ষেমেন্দ্র তাঁর ‘সুবৃত্ততিলক’ গ্রন্হে বললেন- কাব্যে শৃঙ্গার, করুণ প্রভৃতি রসের অনুসারে এবং বর্ণ্য বিষয় অনুসারে ছন্দের প্রয়োগ করতে হবে। সীতানাথ তাই করেছেন। ‘শিশুযুবদুর্দৈববিলসিতম্’ কাব্যটির আলোচনা প্রসঙ্গে বলেছি, ক্ষেমেন্দ্র তাঁর সুবৃত্ততিলক গ্রন্থের দ্বিতীয় বিন্যাসে বলেছেন- ‘তস্মাদব্যভিচারেণ শ্রব্যতৈব গরীয়সী’। অনুষ্টুপ্ ছন্দের লক্ষণ প্রসঙ্গে বলেছেন- ‘অনুষ্টুপ্’ এর ক্ষেত্রে অনেক ভেদ দেখা যায়। যে লক্ষণ করা হয়েছে তার অনেক ব্যতিক্রমও দেখা যায়, কিন্তু শ্রব্যতা অর্থাৎ শ্রুতিমাধুর্যই বিশেষভাবে বিবেচ্য। আগেই বলেছি, আবার বলছি সীতানাথের হাতে অনুষ্টুপ্ প্রয়োগের স্বচ্ছন্দতা, সাবলীলতার কথা। জানা বিষয়ের পুনরুক্তির অর্থ ছন্দঃপ্রয়োগে কবির বৈদগ্ধ্যের, মুন্সীয়ানার আত্যন্তিক গুরুত্বটুকু পাঠকের সামনে তুলে ধরা। আরণ্যষড্বিংশিকা-র বিশেষ বিশেষ অংশে অনবদ্য অনুষ্টুপ্। তাছাড়াও এখানে ওখানে বন্দনাগাথা অথবা প্রশস্তিপত্র অথবা অভিনন্দন পত্রের ছত্রে ছত্রে রয়েছে সীতানাথের অনুষ্টুপ্। বারবার মনে হয়েছে- ‘সুবশা সীতানাথস্য অনুষ্টুপ্ প্রবল্গতি।’

         ছোট্ট কবিতার মধ্য দিয়ে কবি সীতানাথের পাশাপাশি দার্শনিক ও বৈয়াকরণ সীতানাথও বারবার আত্মপ্রকাশ করেছেন। ৯নং শ্লোকে ‘প্রয়াতঃ’ শব্দটি ‘মুনেঃ’ এর বিশেষণ রূপে প্রযুক্ত। আপতঃদৃষ্টিতে মনে হয় ‘ক্ত’-প্রত্যয়ান্ত শব্দ, কিন্তু প্রকৃতপক্ষে প্রয়াত্ শব্দের ষষ্ঠীর একবচনে নিষ্পন্ন- সেই মুনির চিত্তে ‘স্ফুরিত’ হয়েছিল। কোন মুনির- যিনি তমসার স্নানের উদ্দেশ্যে গমন করেছিলেন, যিনি ‘বল্মীকভব’।  ‘নদী’ অর্থে ‘স্রবন্তী’ পদের প্রয়োগও প্রশংসার দাবী রাখে। প্রাসঙ্গিক সেই শ্লোক-

‘মাতস্তদীয়ায়তনে কদাচিত্

স্নাতুং প্রযাতস্তমসাং স্রবন্তীম্।

মুনেশ্চ বল্মীকভবস্য চিত্তে

ছন্দো নবীনং স্ফুরিতং বভূব।।’

শব্দ প্রয়োগে আচার্য কবির মুন্সীয়ানা বার বার উপলব্ধ হয়েছে ‘আরণ্যষড্বিংশিকা’ কবিতায়। সম্যক্ স্থিতি অর্থে ‘সংস্থান’ (১), ‘প্রফুল্লত্’ শব্দের ষষ্ঠীর একবচনে ‘প্রফুল্লতাম্’ (৪) ইত্যাদি প্রয়োগ বিশেষভাবে প্রণিধানযোগ্য।

         যমক অনুপ্রাসের সব ভেদ- বৃত্ত্যনুপ্রাস, শ্রুত্যনুপ্রাস ইত্যাদির স্বচ্ছন্দ ও সাবলীল প্রয়োগ পাঠককে মুগ্ধ করে। ‘পুরা সুতং সা যমসূত সাধ্বী’ (১২), ‘বিধীয়তাং বুদ্ধিবিশুদ্ধা’ (২৫) ‘… চরিতৈঃ কিলৈতৈঃ’ (২০) ‘ক্লেশততিং ততানা’ (২০), ‘বৃত্তির্বিনিন্দিতা’ (৩), ‘কিঞ্চিত্ কদাপি কৃপয়া’ (২১) ইত্যাদি অবশ্যই উল্লেখনীয়।

         কবিতার শেষ দুটি শ্লোক কবি বিধাতার কাছে মানুষের শুভবুদ্ধির কামনা করছেন- মানুষ যেন আবার অরণ্যসৃজনে উদ্যোগী হয়- ‘উচ্ছেদতো২রণ্যভুবো২চিরেণ নিবর্তিতাঃ স্যাম যথা চিরেণ’, এবং ‘স্বচ্ছন্দতঃ প্রতিগৃহং প্রতিভূমিভাগং সংরোপ্য বৃক্ষনিচয়ান্ পরিপালয়েম’ (২৫, ২৬)। সেই শুভবুদ্ধির প্রেরণায় রবি কবির সুরে সুরে মিলিয়ে বলছেন- ‘দাও ফিরে সে অরণ্য- লও এ নগর’।

         রাজানক কুন্তকাচার্য এবং তাঁর বক্রেক্তিতত্ত্ব সীতানাথ আচার্যের সারস্বত সাধনার অন্বিষ্ট। সেই কুন্তকের ভাষায় বলি- ‘ন কাব্যার্থবিরামো২স্তি যদি স্যাৎ প্রতিভাগুণঃ।’ প্রতিভা শক্তি যদি থাকে তবে কাব্যার্থের বিশ্রান্তি হয় না অর্থাৎ নানা প্রকার কাব্যার্থের নিয়ত স্ফুরণ ঘটে। সবশেষে এই প্রার্থনা, বিরল কবিপ্রতিভার আধার সীতানাথ কবির কলনাদিনী কাব্যধারা বয়ে চলুক স্বচ্ছতোয়া স্রোতস্বিনীর মত, অনাবিলা নির্ঝরিণীর মত।**

** উক্ত প্রবন্ধটি ‘UGC Sponsored State Level Seminar on Village and Forest Life in Sanskrit Literature’ এই সেমিনার প্রসেডিং থেকে পুনর্মুদ্রিত, পৃ. ৪।

(This playlet is based on the popular and interesting story, repeatedly and inspiringly narrated by Sree Ramakrishna Paramahamsadeva, bearing some deep philosophical truth. It projects the Truth that samsara, i.e., the bondage of wordly life and Mukti, freedom from that bondage- both depend on ‘His’ will only. The present drama shows how even a pretended piety can transform a sinner to a saint and make his life blessed by causing his spiritual upliftment.)

Scene I

(The orchard of wealthy Amarnath. Amarnath is sitting alongwith his friends.)

First friend – Amarnath, how beautiful your orchard is! Last year we were lucky enough to get the fruits of your garden. But what’s wrong? This year we are deprived of the same?

Amar – Brothers! What can I say? I am very much worried. The fruits are stolen from my orchard. Not just that, but also the fishes from the pond.

Second friend – Really! Then truly it’s a matter of great concern. Dear Amar! You have to strengthen the security. Otherwise, who will prevent the theft of goods inside the house alongwith the fruit and the fish?

Amar – Brother! One guard and one gardener are already there.

First friend – Oho! The guard and the gardener! Now the whole matter is clear as crystal. You are bringing up thieves inside your very house. As such thieving can never be checked here.

Amar – But, you know, they are working from the days of my father. They are exceedingly loyal.

First friend – Brother! Who can guarantee that a saint in your father’s time will not turn into a thief during his son’s days.

Amar – Please, suggest me Brothers. What should I do now?

Second friend – Don’t worry; we will do the needful. Let us engage some village-boys to guard your orchard and let us now see whether the thief is apprehended or not.

Amar – Thank you Brothers! Please do the same. There is no other alternative.

Scene- II

(Dark night. A corner of the garden. A thief enters surreptitiously with a fishing net in his hand. He looks around…….)

Thief – I can neither see the watchman nor the gardener anywhere. This place seems to be absolutely deserted. Yet sounds can be heard from that side. Any way there is no need to go there, I shall return with a few catches in the pond. I should be satisfied with whatever little ‘He’ bestows on me.

(Now the thief tosses the net and begins fishing)

(Other corner of the orchard. The boys are conversing with one another)

First – Brother! Do you hear? Some sound can be heard from that side – is not it?

Boys (altogether) – Who’s there? Who’s there?

Second boy – Oh No! Not that side. The sound is heard in this side only.

Other boy – No, No! Not that side brother! It can be heard from the other side. Let us go through the winding path below the mango tree. I am quite sure that someone is there.

(The boys begin to search everywhere)

Thief – Goddam, I hear many voices. What shall I do now?

(Other corner of the Orchard)

Boys – Let some of us surround the orchard lest the thief should escape. We will keep a watch on this side.

Thief – What luck! There is no escaping now. I will surely be caught now. Oh God! deliver me.

(The thief looks around, while trying to escape suddenly falls in a heap of ashes.)

Thief – Ah! Here is a heap of ashes. This is fine. Let me smear my body and face completely with the ashes. Now I shall sit here under the tree in a saint’s guise.

(The thief feigns meditation in Yogi’s guise. The boys who were in search of the thief observe him from a distance).

First friend – Oho! I see a shadowy figure near the pond. But the place is very dark. Let us go with a torch.

Second friend – Be careful. Take the rod along with you. Otherwise, if the thief has any sort of weapon there will be danger.

(The boys come in front of the thief in disguise of a saint.)

First boy – Oh look! He is not a thief. A great Yogi is meditating here. What an accident it would have been! If we had struck him how tragic it would be. Thank God, we’ve brought the torch.

Second boy – Anyway, God has saved us. Thank God, we are not instrumental in murdering a holy man. Come along, let us beg for his mercy.

(All bow down before the Yogi.)

Second boy – Oh Maharaj (Baba)! Unknowingly we were about to hit you. Prabhu! Forgive us all.

(Yogi pretended meditation and remained standstill.)

First boy – Look! He is static like a piece of wood. Come along, we should not disturb his meditation. (Exit)

Scene – III

(Next morning. The news spread that a great Yogi has arrived in the village. The villagers pour into the garden with fruit and flowers to have Darshan of the Yogi.)

First villager – Oh Maharaj! My only daughter is seriously ill. Kindly do something for her recovery.

(Yogi reassures him with the well-known gesture of blessing and give him a pinch of ashes.)

First – All Hail to Baba! All Hail to Maharaj!

Second – Baba, let me have better days. I barely live from hand to mouth. I can’t bear it any more. Please bless me to have enough wealth to eat rice in the gold-vessel along with my grandson.

(Yogi raised his hand and blessed him and gave a pinch of ashes.)

Second – I am now sure to have better days. Who else is more lucky than myself?

Lady – Baba! I wish my daughter-in-law begets a bonny male child, who will carry on my succession. My husband passed away and didn’t see his grandson. Would I have the same fate? Have pity on me. So that my daughter-in-law begets a male child.

(Yogi raised his hand in blessing and gave her a pinch of ashes.)

Lady – I will make an amulet out of this ashes and make my daughter-in-law wear it. Oh how kind my Master is! When my successor will come, I will request Yogi Maharaj for a holy visit to my hut.

Fourth man – Baba, a lawsuit has been filed in the court. Kindly bless me so that I can win. My brother is trying to grab my entire possession in illegal way. Let my brother turn into a pauper.

(Yogi raised his hand and blessed, gave a pinch of ashes.)

Fourth man – I will make an amulet out of this ashes and while going to the court I will put the amulet on my arm. Let me see how the enemy can defeat me. All Hail to Baba! All Hail to Baba!

Another devotee – Baba, everybody comes to you with some material desire. You assure them and bless them silently. But I have come to you with some other purpose. For ‘whom’ you have renunciated this worldly life, I want to renuntiate everything for ‘Him’. I shall be a Yogi like you, a Yogi only, Baba, I am at your feet. Make me a Yogi.

Thief (Monologue) – What a miracle! I am not at all a holy man! On the contrary, I am an unholy thief. Last night I came here only with the purpose of thieving. I smeared myself completely with the ashes just to save my life and with closed eyes pretended to be a holy man, a Yogi. But in the light of the dawn all my sins have been washed away as it were. Everybody now comes to me for Darshan, they earnestly ask for my blessings and bring me fruits and flowers. None of them suspects my identity. I have only been pretending to be a holy man, and for that I am being honoured so much! If I turn into a saint, a holy man in reality, then certainly I shall attain ‘His Love’. Then I shall have nothing of one’s life. Oh God! You haven’t punished me. The ardent devotion of these innocent people has turned my soiled soul into Gold.

Devotee – Prabhu! My Lord! Are you leaving now?

Thief – Yes my child, from now both of us will live in search of that ‘Highest Treasure’.

Devotee – What is that ‘Highest Treasure’?

Thief – God, that Almighty, who has opened my eyes, who has breathed into you the glow of renunciation. Let us, for ‘Him’, give up our worldly desires. We will be ‘Yogi in reality’.

Devotee – Prabhu, why do you say so? What do you mean by ‘Yogi in reality’?

Thief – I mean – Last night I was a ‘False Yogi’. Now I am a ‘True Yogi’ in the real sense. A true Yogi, a real Yogi, a genuine Yogi.

(Ramakrishna Paramahansadeva is seen in the background.)

Ramakrishna – Now you see, this much consciousness has been awakened only with this fraudulent sadhana. Then what more to say if the sadhana is real?

(Curtain)**

** উক্ত অনূদিত নাটকটি The Golden Horizon পুস্তক থেকে পুনর্মুদ্রিত, পৃ. ৭।