Jivanandana of Anandaraya Makhin (Study)

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

This page relates ‘Analysis of Dharana’ 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.

Ānandarāya Makhin depicts Dhāraṇā, a female assistant of queen Buddhi, in the first Act as a spy, and later in the third Act, as the Pratīharī of the palace.

Dhāraṇā is retentiveness; hence she is portrayed as assistant to Buddhi. Also, she is sent as a spy to the enemy camp to observe, retain and inform Vijñāna Śarmā of the plans of the enemy. Though sent by the king as a spy only on the advice of Vijñāna Śarmā, Dhāraṇā is not willing to part with information collected, when she meets Vijñāna Śarmā on her return to the city. This suits the character of a loyal spy.

When she meets the minister at the dawn of a day, she is in the attire and guise of a female ascetic assuming the name Gārgī. Her conversation with the minister brings forth her qualities as a spy–observant, cautious, loyal and efficient to meet any situation. Knowing her true identity, Vijñāna Śarmā talks to her in such a way that the qualities of Dhāraṇā as an aṅga of Yoga are brought to light.

Further, the minister tests her by asking her to identify him since she, as Dhāraṇā, knows all the matters of the world (I.22ab):

nikhilaṃ jagataścaritaṃ vijṣātaṃ te samādhinaiva bhavet |

And also because Yogins can know all matters through meditation (I.23/23; p.26):

tvameva jānāsi | yataḥ praṇidhānena yoginaḥ sakalamapi pratyakṣayanti |

When Dhāraṇā declares the identity of the minister, he too identifies her by stating that being devoted to queen Buddhi and king Jīva, she is skillful, valourous, a quick judge of others’ activities and maintains equanimity during both good and bad situations (I.24):

buddhyā mahatya kṛtasāhacaryā deve nije darśitabhūribhaktiḥ |
parapravṛttiṃ vidatī mahimnā sādhāraṇā tvaṃ tvahite hite ca ||

Still talking in general terms, she tries to get information from the minister himself. After she is satisfied with his sincerity, she reveals her identity.

She provides all the information collected by her at the enemy camp. But she does not go to meet the queen and king because she had returned from the camp of diseases.

Among the detailed narrations, the important point she had given which forms the base for the further course of their activities is the fact that Rājayakṣmā himself had declared that he could not be conquered without Rasa and Gandhaka (I.38/39; p.46):

mantrī -rasagandhakaprayogamantareṇa saparivāro'hamajayya’ iti yakṣmarājasya hṛdayaṃ viśvasanīyayā tāpasīveṣayā dhāraṇayā gṛhītam ||

Dhāraṇā again appears as a Pratīhārī showing the way to the minister as he ascends the palace. The minister is deep in thought; at one point of time, he angrily exclaims at the manoevres of Pāṇḍu. Dhāraṇā who had just been following him without interruption so far, observes that this anger brings out his courage.

Thus, one of the basic requirements in the Yogic lessons, namely Dhāraṇā is personified by the dramatist as a spy and a Pratīhārī. Her role has brought in the important information, vital for the development of the play.

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