Jivanandana of Anandaraya Makhin (Study)

by G. D. Jayalakshmi | 2019 | 58,344 words

This page relates ‘Act VI (Summary)’ of the study on the Jivanandana (in English) which is a dramatic play written by Anadaraya Makhin in the 18th century. The Jivanandana praises the excellence of Advaita Vedanta, Ayurveda (medical science) and Dramatic literature as the triple agency for obtaining everlasting bliss.

Dramatis Personae.

Kāla–Time
Karma–Action
JīvaKing
Vidūṣaka–Hero’s friend.
Vijñāna Śarmā–Prime Minister.
MandāgniHunger
Vāta, Pitta, Kapha–Three humors.
Yakṣmā–The enemy king
Pāṇḍu–The prince of the enemy side.
Matsara–Warrior

Note 1: This Act is the lengthiest of all the Acts in the drama. The unique feature in this Act is:-Two characters -Karma and Kāla converse with each other remaining in the sky and witnessing the happenings on the earth.

Note 2: The playwright makes use of this opportunity to tell the readers / audience that Kāla and Karma are eternal witnesses to all things happening on the earth and all activities on the earth are controlled by them.

Scene I–In the Sky:

The scene opens with Kāla informing Karma about the ensuing battle between king Jīva’s army and king Yakṣmā’s army and Kāla wants to know more about it. When Karma points out to him that every happening on earth takes place only with his knowledge, Kāla points out similar quality in Karma also. Kāla points out to Karma’s three divisions as nitya, naimittika and kāmya. He also records that Indra’s nature of being Indra, Hari’s nature of being Hari and so on, are the grace bestowed upon them by Karma.

Karma now takes this opportunity to bring forth the greatness of Kāla which is beyond the reach of words and mind. Kāla’s frame itself is made up of Muhūrta, Dina, Pakṣa, Māsa, Ṛtu, Ayana, Abda, Yuga and Manvantara. Kāla modifies himself in such a way to suit the activities of humans. Generally it is said that the three dimensions of Kāla as present, past and future and his continuous flow can never be divided.

Kāla now tells Karma to watch the happenings between Jīva and Yakṣmā, by remaining at a higher plane in the sky so that none would identify them. He indicates the beginning of the war by saying that Pāṇḍu has sent the Bhasmaka disease which generates atibubhukṣā (excess hunger); with this Jīva’s sufferings get initiated.

Kāla also narrates to Karma about what had been happening so far–king Jīva has been strictly following the directions given by his minister Vijñāna Śarmā. In spite of this, once when Vijñāna Śarmā had gone away from the king, his absence was utilized by Jñāna Śarmā who had been Jīva’s Minister for a long time. He left him when Vijñāna Śarmā brought Jīva under his complete control. He has now presented himself to the king, to guide him with the best of advice, viz., the body is perishable in which imperishable ātman dwells; the ātman is none other than Brahman; when Jīva realizes this he would obtain Eternal Bliss.

On hearing these words of Jñāna Śarmā, the hero becomes totally disinterested in all governmental activities. Jñāna Śarmā observing the return of Vijñāna Śarmā bids farewell to the king and leaves the premises.

Immediately on approaching the king, Vijñāna Śarmā notices the sudden change in the king; he understands the visit of Jñāna Śarmā. As if not knowing anything in this regard, he talks to the king. The king also conceals his mental attitude and wants to know about the latest situation in the city. The minister narrates every minute detail of the arrangements made to bring the situation under complete control.

With a wavering mind, recollecting the advice of Jñāna Śarmā the king now is confused. He enumerates the unbeatable powers of the enemy's army and asks the minister about the possibility of absolute control over these fearful diseases. The minister pacifies the agitated king saying that diseases born out of the three faults of Vāta, Pitta and Kapha, are being put down as they intensify. Very shortly the city would be under Jīva’s complete control.

Clearing the king’s doubt, the minister adds that if the king, at this juncture, were to be away from this critical situation, winning over Yakṣmā with his entire team would become impossible. Hearing this, the king tells Vijñāna Śarmā that he has entrusted everything to him and he might try the best for the benefit of all.

On being enquired by Karma, as to why Jñāna Śarmā and Vijñāna Śarmā, both being supporters of king Jīva, should be inimical to one another, Kāla explains the difference between Jñāna and Vijñāna. The mind fixed in liberation and Eternal Bliss achieves Jñāna; when the mind involves in other sciences it obtains Vijñāna.

Kāla then gives a detailed explanation of Advaita philosophy here, which explains the ways to understand and reconcile the conflict between Vijñāna and Jñāna to reach the Supreme Brahman.

Having thus made the audience know about the struggle of the Jīva in attaining the Brahman, Kāla and Karma follow the activities happening on the earth.

Scene II: Jiva’s Palace

Now the king with Vidūṣaka enters the stage.

The king is suffering from the disease Bhasmaka and hence, is in need of lots of food. The Vidūṣaka, happy to have a companion, encourages the king to eat and drink as he feels. Though at first he enjoys eating varieties of food items and drinking very tasty juices, Jīva soon returns to his normal self. As he wants to see the minister, Vidūṣaka himself goes out and fetches Vijñāna Śarmā. At this juncture, no one realizes the attack of the inimical force through Apathyatā, who puts Bhasmaka in service to create such hunger in the hero; but the minister, on observing the situation suspects the enemy-team’s attack.

He feels that something is wrong with the hero. He had never seen the king so much besotted with food; hence he feels that this extreme hunger of the king is an indicator for the downfall of his kingdom, since desire for food would make Jīva an easy prey to diseases. The minister, feeling uneasy, decides to divert Jīva’s attention and hence takes him to the terrace of the palace.

Scene III–Terrace of the Palace and Battlefield:

From the terrace, all the three (king, minister and Vidūṣaka) see the activities in the battlefield–A group of various diseases is sent as soldiers by the enemy side. The brilliant minister also keeps on sending warriors one after the other, who are medicines from their side. Both the king and the Vidūṣaka are bewildered by the war that they were made to witness. Vidūṣaka ignorant of this unique war, is baffled by the various happenings in the battle-field. He raises many queries to which the minister patiently answers, thus narrating the entire battle movements.

He enlists the names of the soldiers in the forms of various diseases sent to attack the hero’s city, by Yakṣmā and Pāṇḍu and the suitable and powerful soldiers who meet them from Jīva’s side of the army in the form of medicinal products.

The play-wright depicts these happenings through the conversation between the king, the minister and the court jester. Kāla and Karma who witness these (stationed in the sky), also converse with each other.

While watching the developments of war, they see enemies gaining an entry and breaking the protection made by the seven trenches–liquid, blood, flesh, cholostral, bones, marrow and enzymes (sapta dhātus)–around the fort of the city (body). However, the minister had already placed suitable medicinal products to face the situation.

Having heard through Matsara about the defeat of his power, the jealous Pāṇḍu in spite of being prevented by his king Yakṣmā had sent Apathyatā with Mandāgni to make the king desirous of eating varieties of food, through which his (Pāṇḍu’s) other members might start their destructive work.

When Apathyatā comes to Jīva, she is accompanied by not only Mandāgni but also by Vāta, Pitta and Kapha. On their entry, king Jīva suddenly feels an uneasiness in him as if some wheel is reeling in his stomach.

Suddenly, Vidūṣaka sees a very bright lightning-like object. Identifying it rightly, the minister says that he is Jvararāja surrounded by his full team. He is the leader of fevers and is very ferocious. He, with his three heads can look around all the directions with his fierce eyes.

In the antarikṣa where they are stationed, Kāla explains to Karma the situation–this fever brings into the body laziness, heaviness and shivering. The person attacked by fever never feels strong; his vision gets blurred; he becomes thirsty and very weak.

Down in the earth, the minister says that Jvararāja is a great friend of Yakṣmā and is accompanied by his three sons krodhana (anger), arocaka (food-aversion) and adhmana (indigestion) and five wives Vāta, Pitta, Kapha, Sannipāta and Grahaṇī. Vidūṣaka sees the enemy's force full of soldiers with swords, armour, arrows, bows, iron beams, tridents, spears and maces. The minister identifies them as the sons of Vraṇarāja (wound). They consist of eight types of bhagandaras and six kinds of gudakīlas who occupy the base position, mulādhāra, completely. He also sees the mehas ten in number, which are Kapha defects, another group of six Pitta-faults; four types of diseases of Vāta-defects–altogether to twenty. In the same base site, on the urinary track, another thirteen persons are getting ready to attack.

The minister further enlists the diseases who are the soldiers of the enemy side as–Agnimāndyam, a group of diseases affecting complete digestive system; eighty Vāta-oriented, forty Pitta oriented and twenty Kapha oriented diseases; ninety-four types of eye diseases; seventy-four mouth-oriented diseases; ten kinds of head diseases; nine more diseases created by the external and internal bacterias; nine tumour varieties; twenty mind oriented defects; one particular disease commonly known as Āmavāta with four divisions which is the abode of all diseases; fainting of six types caused by Vāta, Pitta, Kapha, Śoṇita, madya (liquor) and kṣveda (poison); there are six, Unmadas and they develop along with five-folded heart disease.

On listening to these activities, Vidūṣaka extremely afraid of the situation, observes that the enemies have now invaded all the outer circles, forts and treasure houses; and immediate action has to be taken to save themselves.

King Jīva states that his body is ailing, his legs are stiff, and hands are shaking; he cannot see anything clearly or hear any sound clearly; his skin also has become very dry; his heart feels as if moving out of its position and rotating; the directions seem to be revolving around him. Hence, he expects the medicinal treatment with drugs prepared with Mercury and Sulphur (Rasa and Gandhaka) to be used by the minister immediately. The minister advises the king to pray to Śivabhakti and remain brave and courageous in this hour of crisis to obtain the desired victory. To substantiate his point he cites stories from the epicsNahuṣa, cursed by the great sage Agastya, underwent an ordeal and got back his lost glory; Nala and Hariścandra, inspite of their testing hours with courageous minds got back their name and fame; and Rāma built that historical bridge across the mighty ocean to destroy the entire army of Rāvaṇa who abducted his wife.

The special medicines prepared under his supervision, with Mercury, are waiting for the king's orders to be activated destroy the entire inimical force.

At this juncture, a voice behind the curtain declares that the newly produced powerful medicine mixed with Mercury and Sulphur has been obtained by the grace of Śivabhakti. They have been very well trained and they would surely conquer the entire army of the enemy. Soon, king Jīva would witness the total eradication of the army of king Yakṣmā along with his wife, minister and sons.

On hearing this voice, king Jīva orders his entire army to try for the total eradication of the enemy team.

Scene IV–Enemy camp:

At this juncture, Yakṣmā and Pāṇḍu enter the stage. Yakṣmā is unhappy at the fate of his army and asks Pāṇḍu whether his men are there only to be beaten up. Still confident, Pāṇḍu replies that some of their men are still leading and some have fallen.

Here, the play-wright, through the discussion between Kāla and Karma, who remain in mid-air and watch the happenings on the stage, brings forth the power of this enemy king.

On witnessing the power of Jīva’s army, Yakṣmā tells Pāṇḍu that no sāma, dāna or bheda devices would be useful and only the fourth, namely daṇḍa is to be used here. They need not delay any further. Yakṣmā decides that when the final fearful battle is started between both the armies with various weapons, the city will either be without king Jīva or without any disease. On this note, Yakṣmā and Pāṇḍu leave for the battle-field.

Scene V–Terrace of Battle-field:

Kāla and Karma watch the warriors sent by Vijñāna Śarmā defeating the enemy team. Relieved on seeing the vigorous show exhibited by the army sent by Vijñāna Śarmā, king Jīva narrates to Vidūṣaka, the members of his own army (medicines) and the identity of the diseases of the enemy side that have been eradicated by his army.

Suddenly at this point, beating of the drums and blowing of conches hailing the victory of Jīva over Yakṣmā, is heard.

Yakṣmā, along with his wife Viṣūci and Matsara enters the battle-field. He laments about the destruction of his entire army and all his royal family. But he is not aware whether Pāṇḍu his son and minister is alive or dead. His wife Viṣūci is also seen crying uncontrollably. Matsara consoles them saying that Yakṣmā being a powerful king, he should not lose heart; he still has some soldiers to confront the enemy.

Jīva, Vijñāna Śarmā, Vidūṣaka on the terrestrial level and Kāla and Karma on the antarikṣa are witnessing this. Unable to bear the lamentations of Yakṣmā and his wife who have lost their children, Kāla and Karma exit from that scene.

On the battle field, Matsara now tells Yakṣmā not to worry since there are still many strong soldiers remaining unconquered. With their help, they could reduce that Vijñāna Śarmā’s power. When Yakṣmā puts the question as to how this could be achieved, Matsara whispers something into his ears. Entertaining both hope and doubt, Yakṣmā goes out of the stage with Viṣūci and Matsara.

Noticing this, the minister wants to plan their next course of attack suitably and leaves the stage with Jīva and Vidūṣaka, marking the end of this sixth Act.

Note: There are 96 verses in this Act.

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