Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X

The Vision of Darkness in Basavaraj Naikar Professor & Chairman, Department of English, Karnatak University, Dharwad, Karnataka, India Dharmavir Bharati (1926-97) the Hindi convey. Thus the premiere had to wait till author was born in , Uttar 1962, produced by on Pradesh. He studied there and participated Theatre Unit‘s rooftop stage in Bombay. in the anti-British Quit India movement. Subsequently the National School of He earned a doctorate in Siddha saint Drama performed it in 1963, directed by literature in 1947, and then became a full- Alkazi, and revived it several times. Many time journalist, editing the weekly directors in other languages, like Ajitesh DharmaYug from 1960 to 1989. His Bandyopadhyay (Bengali, 1970) and Ratan journal was a war correspondent in Thiyam (Manipuri, 1993), also staged Bangladesh in 1971, made a tremendous important versions.‖ 1 impact. He was also a poet, novelist and His play, Andha Yug, translated into essayist. His two novels, Gunahonka English by Alok Bhalla, deals with the Devata (The God of Sins) and Suraj Ka epical theme of the conflict between the Satvan Ghoda (The Seventh Horse of the and the culminating Sun) are classics of . He into climax on the eighteenth day of has published five one-act plays under the war. Although the theme is title Nadi Pyasi Thi (The River was borrowed from the last part of ‘s Thirsty, 1954), often produced by schools, , Dharmavir Bharati has colleges and amateur groups. accentuated it in such a way that it remains He wrote only one full-length play Andha relevant even today. It was written Yug (Blind Age, 1954), originally as radio immediately after the , drama, now recognized as a classic of but it appeals to the reader even in the modern . ―Set late in the twenty-first century, which is vitiated by Mahabharata, it concerns the eternal values international terrorism and of life that are damaged or broken and re- fundamentalism. Though the story of established again and again. Bharati was Kauravas and Pandavas is incidental to it, deeply perturbed about the perpetual it achieves the universality of appeal by problem of war becoming global and highlighting the metaphysical conflict destroying humanity. Obviously reflecting between Good and Evil. It is on account nuclear conflict, his play also interrogated of its universality that it becomes relevant the received wisdom of ‘s in every age and nation. assurances. An epic drama in blank verse, The play begins with a prologue, which it applied various forms such as folk foreshadows the theme in advance. It says theatre, Parsi theatre, Katha-gayan (singing that the play is concerned with the age of of tales), and Western tragedy as required. darkness as described in Vishnu Purana in The use of symbols and imagery provided which there would be a decline in a new dimension to the theme. It was a prosperity and and the whole earth challenge to directors because the text‘s would slowly perish; the one, who has poetry and dramatic beauty is not easy to wealth, would rule; the one, who wears a

Volume V Issue III: May 2017 (7) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X false mask, would be honoured; the one, fragrant breeze, have become widows who is greedy, would be a king; the now. They are sad to notice that the people, weary of misrule, would hide in Kingdom is ruled by an old and dark caves and wait for their days of blind ruler and therefore all their actions misery to end. It says further that it was are meaningless. Now the guards are only Lord Krishna, who was dispassionate surprised to see the Kaurava Kingdom is and detached, whereas all the others were overcast with thousands and thousands of blind and self-absorbed and that the play is ravenous vultures, which are eager to feed the story of enlightenment through the life on the dead. The guards consider them as of the benighted and the blind. a bad and dreadful omen. The shadow of The first at begins with the narrator the vultures indicates physical darkness commenting on the central event and its symbolizing other kinds of darkness like negative nature, ―Both sides in the war/ ocular, psychological and one moral ones. violated/ the code of honour/ smashed it/ King ‘s blindness is ripped it into shreds/and scattered it - / the indicative of ocular darkness. Queen Kauravas perhaps more than the GAndhaari‘s voluntary blindfolding of her Pandavas‖ (P.27). 2 He comments further eyes shows her extraordinary loyalty to her that it is a strange war in which both sides husband. But both of them, in addition to are doomed to fail; that blindness rules this being physically blind (or blindfolded) are age and not reason and that blind fear, morally blind also because of their blind affection for and attachment to their blind love, blind power and blind justice shall prevail in the end. The Kurukshetra children i.e. Kauravas. The different kinds war is obviously an archetypal one as it of blindness unfold themselves as the play suggests the metaphysical war between proceeds forward. Good and Evil. Whereas the Kauravas When comes to see King represent Evil, the Pandavas represent Dhritarashtra, the guard tells him that the Good. The war is necessitated by the king could not see the terrifying scene of blindness of the Kauravas and war, as he is physically blind. He is consequently the Pandavas have suffered waiting for the latest news bulletin to be countless sorrows. But in the war there has brought by . But when Vidura been a reversal of situation. So far Good meets the king, the latter confesses that he was helpless against the force of Evil. But is afraid for the first time in his life. Good is slowly gaining victory over Evil. Vidura tells him, As a consequence of this unwanted war the Afraid? common people feel that their whole life The fear you experience today has become meaningless. For example, Had gripped others years ago. (P.33) the two guards express their opinion, which voices that of the common people. Vidura reminds the king that the latter had They say that they are very tired but yet been warned by and Dronacharya they have to march up and down guarding and that Krishna had also advised him, these desolate corridors. They are Do not violate the code of honour. unhappy to learn that the Kaurava queens, If you violate the code of honour who once wandered gracefully like the It will coil around the Kaurava clan

Volume V Issue III: May 2017 (8) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X Like a wounded python Krishna. The same view is corroborated by And crush it like a dry twig. (P.33) the Guard 2, who says, ―And the one they But King Dhritarashtra had not bothered to worship as their Lord takes the responsibility for all of them!‖ (P.43) But listen to this advice. On the contrary his physical blindness was accentuated by the those, who have no faith in the moral order moral blindness caused by his filial symbolized by Krishna, happen to be the attachment to his sons, blind King Dhritarashtra and his blindfolded Queen GAndhaari. My sons were the flesh of my flesh They were the final arbiters of truth The second act begins with the chorus, for me. which describes Sanjaya, the rational My love for them was my law sculptor of words and his bewilderment in My code of honour. (P.34). the forest of doubt and confusion. Then Sanjaya himself comes on the stage and In other words, his attachment to his sons expresses his sense of confusion, ―I have is an extension of his selfishness, which lost my way on this path of thorns and prevents him from understanding the stones‖ (P.47). Although several soldiers world from a wider perspective. He has have died, Sanjaya has not died. He is realized his mistake rather belatedly, very sad to be alive and witness the defeat Today of the Kauravas by the Pandavas, I realized Yes, I am still alive. That there is a truth The earth for miles around is That lies beyond the boundaries strewn Of my selfhood. With the corpses of Kaurava I realized that only today. (P.35) soldiers He feels terrified by what he has learnt Slaughtered by . today. Queen GAndhaari also feels that The Kaurava army is scattered; the ideals like dharma, duty and honour are All its heroes are dead. (P.48) mere illusions; that there is a ferocious Sanjaya was about to be killed by , beast in each man; that everyone is but Vyasa had told the latter, ―Sanjaya hypocritical and self-interested. She does cannot die. He is immortal‖ (P.49). not have any faith in Krishna. That is why Sanjaya was cursed by Vyasa, ―You will she has blindfolded herself. In the survive disasters, floods, revolutions, and seventeen days of war, all her sons except wars of annihilation so that you can tell the have been killed one by one. truth‖ (P.49). Sanjaya is thus destined to Now she desperately hopes that tell or report the whole truth of the events Duryodhana will be victorious in the war. like the modern news reporters of the Thus when both King Dhritarashtra and various media. Speaking the bitter truth is Queen GAndhaari are waiting for the latest indeed a very unpleasant job. He finds it news from Sanjaya, there comes a humiliating to tell the whole truth about mendicant, who confesses that his Duryodhana‘s death to King Dhritarshtra prediction (that the Kauravas shall be and his Queen. But exhorts victorious) has proved to be false due to him to be brave enough to tell the truth. the intervention of a stranger man like

Volume V Issue III: May 2017 (9) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X Kritavarma is sad to learn that that him blindly and indiscriminately. Duryodhana is defeated by the Pandavas Kripacharya tries to pacify him. and that only three of them are alive (i.e. Ashvatthama confesses how he became a Kritavarma, Kripacharya and blind medium of revenge and does not Ashvatthama). Now the scene focuses on know how he killed the Mendicant, ―I did Ashvatthama and his psychology of not kill him! I was blind with rage. I revenge. He thinks that his father wanted to annihilate the future, which has Dronacharya was cut to pieces by been prophesied. Believe me I do not Dhristadyumna when Dronacharya threw know the old man was killed‖ (P.63). down his weapons on the battlefield on Kripacharya suggests to them to sleep and hearing Yudhisthira announcing rest for the night. triumphantly the death of Ashvatthama, In the third act, the narrator says that King the elephant but giving an impression of Dhritarashtra and Queen GAndhaari listen the death of Ashvatthama, the man (and to the story of the defeat of Kauravas by son of Dronacharya). Thus according to the Pandavas narrated by Sanjaya. ―His Ashvatthama, his father was killed by the painful story turned GAndhaari into stone. Pandavas immorally and unjustly. Hence Her face pale with sorrow seemed lifeless‖ he decides to avenge the death of his father (P.65). The Kaurava soldiers have been by becoming a metaphorical beast, ―I limping back to the city in defeat and decided to turn myself into a blind, disgrace. King Dhritarashtra is waiting to ruthless beast‖ (P.52). He wants to be hear the news of the last battle between blind and ruthless like a beast and turn his and Duryodhana. Meanwhile the hands into claws, and strangle Yudhisthira Guard 1 tells Vidura that an enemy soldier for lying and for being responsible for his has entered the city with their defeated father‘s death. In his frenzy he mistakes army and that he is a sorcerer, a shape- Sanjaya for a and wishes to kill changer, who can take any form at will‖ him, but Kripacharya prevents him from (P.69). That soldier is none other than doing so by clarifying to him, ―Sanjaya Yuyutsu, the son of Dhritarashtra, who has cannot be killed as he was neutral and took fought on the side of truth and not on the no sides in the war‖ (P.55). side of Kauravas, though he belongs to Kritavarma says that Duryodhana is still their party. He expresses his views as alive and intends to look for him. Sanjaya follows: tells them about the whereabouts of What is my crime? Duryodhana, ―With his extraordinary That I was on the side of truth? powers he has stilled the waters of a lake. No other warrior— And there unknown to the Pandavas, he Neither nor Bhishma— sits strangely still in the floor of the dared to oppose Duryodhana. enchanted lake‖ (P.57). Only I had the courage Meanwhile the Mendicant is rather To declare: unhappy to learn that his prediction about I will not fight the victory of Kauravas over the Pandavas On the side of untruth. has proved wrong. Ashvatthama is also I may be a Kaurava terribly angry with him and finally kills But truth is higher

Volume V Issue III: May 2017 (10) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X Than my clan! (P.71) Krishna known for his holiness and Obviously, Yuyutsu is one of the cunning. Kauravas, who retains his moral integrity, Kripacharya and Kritavarma also want to loyalty to truth and rational approach to take revenge upon the Pandavas, but not life. He has transcended the selfishness, through treachery. But Ashvatthama is greed and vengeance indulged in by the terribly vindictive and wants to be declared Kauravas. He knows that even his mother as the Commander of the army in GAndhaari may not like to see him. But Duryodhana‘s presence. Accordingly Vidura appreciates his position and moral Kripacharya is directed by Duryodhana to approach to life, ―Do not say that. In this anoint Ashvatthama as the Senapati of the evil episode you are the only one of the army. Now Ashvatthama decides to wreak Kaurava clan, who has held his head high vengeance the next morning and orders his with pride‖ (P.72). He asks Yuyutsu soldiers to sleep that night. But he keeps further not to bother about the people of watch by pacing up and down. It is at this the city, who look at him with contempt. time that he happens to see a dance of war When Yuyutsu meets his mother and bows between a crow and owl. Then the crow down to her feet, she taunts him about his sleeps and the owl watches it nervously. siding with the enemies and refuses to The owl prods him to make sure that he is bless him. Yuyutsu is rather sad about his really asleep and then attacks him. After a mother‘s undignified behaviour. He feels ferocious fight between them, the owl kills that ―It would have been better if I had the crow finally. Ashvatthama, who is accepted the untruth‖ (P.75). He is so watching the scene, breaks out of his desperate that he thinks his siding with trance, laughs confidently for having found truth has earned his mother‘s curse and the the truth. He wants to rush to the Pandava people‘s hate and turned out to be a futile camp, where the victorious Pandavas must act in the final analysis. But Vidura be unarmed and sleeping and slaughter consoles him by advising him, ―Great them mercilessly in the manner in which suffering must be endured with grace‖ the owl has killed the crow. He fastens his (P.75). Yuyutsu is sad to know that cummerbund and wants to attack the everybody hates him now. He thinks that Pandavas especially when Krishna has he is damned but Krishna is victorious gone to to console GAndhaari. wherever he is. He says, ―Like a beast I will crush Meanwhile the Guard 1 reports that Dhristadyumna with my feet – like a mad Sanjaya has brought the news that beast trampling on a lotus-flower. I will Duryodhana has been defeated by Bhima not even spare Uttara, who is carrying in the final battle. The Pandavas are ‘s son and the future of the blowing the conch-shells and declaring entire Pandava clan in her womb! (P.88) their victory. But is enraged Kritavarma and Kripacharya try their best with the Pandavas because he thinks that to dissuade him from the immoral and Bhima violated dharma in defeating treacherous vengeance, but Ashvatthama Duryodhana and Bhima‘s immoral action turns a deaf ear to them. was abetted by the ‗unprincipled rogue‘ Meanwhile the Mendicant‘s ghost appears on the stage and deplores the blindness of

Volume V Issue III: May 2017 (11) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X the people and their inner contradictions. party men, but cannot. Kripacharya Yuyutsu‘s spectre deplores his stagnant narrates to Duryodhana how Ashvatthama life symbolized by a firm wheel fixed to a has slaughtered the important leaders of chariot. Sanjaya‘s spectre laments his Pandava camp. Duryodhana dies after uselessness as a decorative wheel. listening to it. Queen GAndhaari is so Vidura‘s spectre laments his faith in the happy about Ashvatthama‘s vindictive Lord, who is like a useless axle, which has heroism that she wants to remove her lost its wheels and cannot turn by itself. blindfold, gaze upon Ashvatthama and The spectral vision acts as a commentary transform his body into a bright diamond. on the overall blindness, darkness and But ironically Sanjaya has lost his vision meaninglessness of life. The Mendicant‘s and therefore cannot show Ashvatthama to ghost now happens to descry a peacock the Queen. That is because Vyasa has feather wafting in the air and understands granted him vision only for a limited time that Lord Krishna is returning from of eighteen days. Hastinapur after trying to console Now the Kaurava city is desolate and the GAndhaari. diamond throne is empty and the people In the fourth act, Ashvatthama rushes to have left to perform the last rites for the Pandava camp to slaughter them GAndhaari‘s dead sons. When Yuyutsu vindictively and mercilessly, but happens meets his father Dhritarashtra, the latter to see Lord Shankara, the god of cautions him against Ashvatthama‘s rage annihilation, standing guard at the gate and and advises him to hide somewhere. But challenging him, ―Defeat me before you by that time Sanjaya brings the news of the enter‖ (P. 95). Ashvatthama attacks him unexpected transformation of Ashvatthama vehemently but ultimately accepts his from a hero into a fearful coward. He is defeat and begs the Lord for mercy. Then hit by Arjuna‘s arrows. Because of his Lord Shiva blesses him, ―Ashvatthama, helplessness, Ashvatthama releases his you will be victorious. The Pandavas have at Arjuna, not knowing the lost their sense of righteousness. Because dire consequences of it for the earth and I loved Krishna, I protected them, gave mankind. Vyasa explains sadly, ―For them victory, renewed their confidence. centuries to come nothing will grow on But they have violated the dharma of war earth. Newborn children shall be and opened the doors for their destruction‖ deformed. Men shall become grotesque. (P.97). Thus blessed by Lord Shiva All the wisdom men gathered in the satya, Ashvatthama reaches Dhristadyumna‘s treta and dwapara Yugs shall be lost tent with the speed of lightning and wrings forever. Serpents shall hiss from every ear his neck mercilessly. Then he proceeds to of corn and rivers shall flow with molten kill the Pandava soldiers and fire‖ (P.114). Then Vyasa requests also. Likewise Kritavarma and Ashvatthama to recall his Brahmastra. But Kripacharya also slaughter the children, Ashvatthama pleads his inability and old men and servants heartlessly. Queen helplessness, ―Vyasa, I am powerless! I GAndhaari feels happy to learn about only knew how to release the Brahmastra. Ashvatthama‘s heroic feat. Duryodhana is My father did not teach me how to recall still alive and wants to tell something his it‖ (P.115). Consequently Ashvatthama‘s

Volume V Issue III: May 2017 (12) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X Brahmastra is about to destroy the child in Krishna accepts GAndhaari‘s curse Uttara‘s womb. But again a miracle without any grudge and even explains his happens. Krishna saves the child in divine as well as human aspects, Uttara‘s womb by exchanging his life for I may be a god. Uttara‘s stillborn child. Then Krishna I may be omnipotent. forces Ashvatthama to surrender his But I am also your son talismanic gem in exchange for his life, And you are my mother. under the shadow of a curse forever. Now … Ashvatthama bows his head in defeat and If I am life leaves the place. Then, Mother Queen GAndhaari removes her blindfold I am also death. and wants to see Ashvatthama, but the I accept your curse, Mother! latter goes away from there. As his body (P.123) is covered with boils and open sores, he The fifth act shows the victory of smells worse than a diseased dog! Vidura Pandavas and a series of suicides. Though tells GAndhaari that Krishna has cursed Yudhisthira has won his throne and his Ashvatthama for the sin of infanticide, kingdom, he is not really happy. He feels with immortality and condemned him to lonely and dejected. He is sad to know live forever and ever. GAndhaari mourns that his brothers are either ignorant or the death of her son, Duryodhana and is foolish; either insolent or weary. He enraged with Krishna for his incitement of trembles to watch the encroaching Bhima‘s adharma and his vile curse on darkness and hears the sinister steps of the Ashvatthama. She, therefore, curses him, coming age. Yuyutsu, who upheld You may be a god dharma, is taunted by Bhima and ill- You may be omnipotent treated by the beggars. He, therefore, Whatever you are commits suicide by plunging a spear into Whoever you are his own heart. Now Yudhisthira‘s I curse you kingdom has grown decadent. And I curse On the contrary, the forest catches fire. All your friends and kinsmen. Both GAndhaari and Dhritarashtra are They shall attack and kill each consumed by the fire. Whereas the other. Kaurava dynasty is destroyed completely, They shall eat each other the Pandava kingdom also comes to an Like rabid dogs. end. Yudhisthira grows increasingly And many years later dejected day by day. Slowly he loses his After you have witnessed faith in everything and realizes the Their destruction hollowness of his victory in the war. He You will return to this forest understands that his victory is also a long Only to be killed and slow act of suicide. Like a wild animal By an ordinary hunter! (P.122) The chorus in The Epilogue describes Krishna‘s death. He leaned against the tree

Volume V Issue III: May 2017 (13) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X Placed his left foot of mankind from blind doubt, slavery and Shaped like a deer‘s face defeat. On his right thigh Presenting even a small chunk of the great And with a sigh whispered: epic, in the form of a play ‗A strange age has passed‘ (P.148). is not a joke. It requires a lot of … intelligence on the part of the dramatist. Mistaking He has to present his vision of life through Krishna‘s foot for a deer the dramatic medium by showing a few He draws his bowstring bits of action on the stage, by highlighting And takes aim (P.150). the moral ideas through verse, by linking … the events on the stage with the off-stage The stars went out one through choric narration and Darkness covered the earth comments. Thus the direct (on-stage) and And that forest of fear indirect (off-stage) action is linked Became even more terrifying. intelligently and the authorial comment The moment Krishna was killed and interpretation is articulated through the Dvapara Yug came to an end chorus. In his note to the directors, And on this god-forsaken earth Dharmavir Bharati confesses, ―The choric Kali Yug took its first step songs are arranged between the acts in a And that forest of fear style borrowed from the traditions of Became even more terrifying (P.151). Indian folk theatre. The chorus is either The death of Krishna represents the used to give information about events, beginning of the age of darkness. The which are not shown on stage or to chorus strikes an affirmative note that in underline the poignancy of the action. spite of the overwhelming darkness of Kali Sometimes, it also clarifies the symbolic Yug, there is a seed of light buried in the importance of the events‖ (P.19). Although human mind and might grow into a big the chorus is borrowed from the Indian tree of high moral ideals, folk theatre, it easily resembles the chorus And yet it is also true of Greek plays and captures the attention That like a small seed of the spectators. Buried somewhere Dharmavir Bharati has shown his dramatic In the mind of man talent in distributing the theme There is courage conveniently into on-stage and off-stage And longing for freedom action. For example, Duryodhana and his And the imagination to create battle with Bhima or the murder of the Old something new (P.161). Mendicant by Ashvatthama, or the release of the Brahmastra by Ashvatthama, the The chorus iterates further that the seed, killing of Krishna by the hunter and such which is buried without exception in each other terrible events are not shown on the one of us, will grow from day to day in our stage (or in the form of direct action), but lives as duty, honour, freedom and are narrated as happening off-stage (in the virtuous conduct; makes us fear half-truths form of indirect action). Similarly the and great wars and always saves the future eagle killing the crow and the cloud-like

Volume V Issue III: May 2017 (14) Editor-In-Chief: Dr. B.N. Gaikwad Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X gathering of eagles waiting to devour the fundamentalism and such other evils and dead bodies of Kauravas are shown suggests an affirmative philosophy of life symbolically on the stage, which holds to be followed for the attainment of true mirror to Dharmavir Bharati‘s happiness. It offers the moral lesson that experimentation with the dramatic Truth will be ultimately victorious, technique. Andha Yug easily attains the although un-Truth may enjoy some power grandeur of a Greek tragedy and succeeds temporarily. In other words the play is a in conveying its universal message. It dramatization of the formula, satyameva teaches the modern man the futility of jayate. indulging in selfishness, terrorism, References: 1. Lal, Anand, The Oxford Companion to Indian Theatre. New Delhi: Oxford University Press. P. 53. 2. Bharati, Dharmavir, Andha Yug. Tr. Alok Bhalla. New Delhi: Oxford University Press. P. 27. (All the subsequent page references are to this edition.)

Volume V Issue III: May 2017 (15) Editor-In-Chief: Dr. B.N. Gaikwad