UGC MHRD e Pathshala Subject: English Principal Investigator: Prof. Tutun Mukherjee, University of Hyderabad Paper: 09: “Comparative Literature, Drama in India” Paper Coordinator: Prof. Tutun Mukherjee, University of Hyderabad Module No 26: Mohan Rakesh’s Ashad Ka Ek Din Content Writer: Ms. Safia Begum, University of Hyderabad Content Reviewer: Prof. Tutun Mukherjee, University of Hyderabad Language Editor: Prof. Tutun Mukherjee, University of Hyderabad 1 Mohan Rakesh: About the Playwright Mohan Rakesh was born on 8th January, 1925 in Amritsar to Karam Chand Guglani who was a lawyer by profession. His father was also engaged in social work and headed many literary and cultural organizations. Thus, Mohan inherited interest in literature and music from his father. When Mohan was sixteen years old his father passed away leaving huge debts. Mohan had a great influence of his father. However, after his father passed away initially it was Mohan’s elder sister who took the responsibility of the house till Mohan completed his education. Mohan did his M. A. in Sanskrit from Lahore and after the Partition of the country he shifted to Jallandhar with his family. Later, he continued his education and completed M. A. in Hindi Literature too. Mohan initially started his career as a teacher and taught at school and colleges. Before deciding to take writing as a full time career he was an editor of a short story magazine for some time. Later, he shifted to Bombay in search of work. There he struggled to get a job and from three days he did not have money to buy food. Finally when he decided to pack his luggage he received the appointment letter from Sydenham College of Commerce to teach as a part time teacher at a salary of Rs. 75 only. He accepted the offer as he experienced hunger. 2 Later, it was made full time with lectureship at Elphinstone College. However, he lost the job. Further, for some time he taught at Jalandhar and in Delhi, and also for a while at a school in Shimla. After then once again he left his job and returned to Jalandhar and joined the D. A. V. College. He left that job too in order to become a full time writer. Works of Mohan Rakesh: He is considered as was one of the pioneers of Hindi Literature’s Nai Kahani Literary Movement that emerged in 1950s. He initially began writing stories and later wrote several plays. In the meantime, briefly he has also served as an editor of the journal Sarika from 1962-1963. His play Ashadh Ka Ek Din (1958) made him as a significant playwright of post- Independence era. It not only influenced the Hindi literary scenario but also revived the Hindi theatre significantly. His notable works are Ashadh Ka Ek Din (1958), Lehron Ke Rajhans (1968) Adhe Adhure (1969), Pairon Tale Ki Zameen (1973), Ande Ke Chilke, Anya Ekanki Tatha Beej Natak (1973) Raat Beetne Tak, Tatha Anya Dhwani Natak (1974). Further, he also wrote Andhere Band Kamare (1961), Na Aane Wala Kal (1968) and Antaraal (1972). For his contribution to literature and theatre he was awarded the Sangeet Natak Akademi Award. Like the play under discussion today, Leheron ke Raj Hans is also one of the noted plays of Mohan. It was first written as a short story and later Mohan turned it into a radio play for All India Radio Jalandhar and broadcasted as Sundri. It took twenty years to bring out the final version of the play. Till then he was recreating its different versions. Many distinguished Indian theatre directors like Arvind Gaur, Shayamanand Jalan, Om Shivpuri and Ram Gopal 3 Bajaj staged this play over the time. The whole process of writing this play was also made into a play by using Mohan’s diary, writings and letters that discussed the play. The play was titled as Manuscripts and staged very creatively by 2nd Foundation, a Delhi based theatre group. Now we are going to discuss the play Ashadh ka Ek Din. The play was first performed by Anamika, a Kolkata based theatre group, under the direction of Shyamanand Jalan in 1960. Following that it was also staged by the theatre doyen Ebrahim Alkazi at the National School of Drama (NSD), Delhi in 1962. This play made Rakesh the foremost modern Hindi playwright of the time. The play, Ashadh Ka Ek Din is translated into English as One Day in the Season of Rain jointly by Aparna Dharwadker and Vinay Dharwadker. Sarah K. Eusley has also translated it as One Day in Ashadha. Literary Style of Mohan Rakesh: The writing style of Mohan Rakesh was the outcome of the changing post- Independence scenarios. He along with other writers tried to project human life and anxieties of middle class society which was undergoing a great shift. He has also focused majorly on man and woman relationships specifically the women’s image as the society was shifting. Women then entered into the arena of home and were asserting identity for themselves. This was completely new and raising many conflicts in the domestic life spaces. To draw attention towards the angst and inner turmoil of relationships, the playwright has used the everyday common language. Interestingly this particular play, Ashadh Ka Ek Din brings Kalidasa into it. To portray the essence of the times of Kalidasa who was a Sanskrit poet and playwright, Rakesh has sprinkled some Sanskrit words and gave poetic feel specifically to be observed in the dialogues of Kalidasa and Mallika. 4 Background of the Play: The title of the play was borrowed from Kalidasa’s Meghaduta, which is in Sanskrit. Mohan Rakesh’s play is an outcome of feeling and experience when he read the Kalidasa’s Meghaduta. He said “When I read Meghdoot, I would feel that the story was less about a dispossessed yaksh than about a poet who is alienated from his own soul that he has poured his guilt-realization into his opus”(Referred in www.revolvy.com, “Ashadh ka Ek Din”) . However, it is not a historical play depicting the poet’s life. Rather it presents the tension between art and politics of the time through figures specifically Kalidasa, the great poet and playwright of Sanskrit and his muse. Regarding the title, according to Hindu calendar, Ashadh is the beginning month of rainy season in India and it falls between the months of June and July. Since India is largely an agricultural country Ashadh has various other connotations too. Setting of the Play: In almost every play setting is a significant part that helps one to understand and create the ambience the playwright has intended while writing a play. Many a times the playwrights instruct the settings in writing along with the play. The setting of this play is mostly written in the text of the play. The setting of the play is very significant to understand the relationship and emotions of the two protagonists. Changing time to growing distance, each and every thing is described in detail including the paintings on the walls and other household articles. The play is set in a village of Himalayas. All the three acts of the play open on a rainy day in the month of Ashadaha. Sound of light thunder and rain is heard before and for a few seconds after the curtain rises. Then the scene opens into an ordinary room. The walls of the 5 room are of wood whose lower section is caulked with soft mud and at intervals swastikas are drawn in red dye. The front door leads to a dark veranda. The door has niches on both the sides in which extinguished lamps are kept. The door at the left leads to another room. With the door open the corner of a bedstead is visible. The planks of the bed are also caulked with clay. A conch shell and lotus are drawn on it with red chalk. Occasionally, flashes of lightening are seen in the large window on the right. The hearth and the surrounding clay and bronze utensils are on one side of the room. On the other side, at a distance from the window, are four large clay jugs used for storing grain. They are covered with kusha grass which is held in place by a stone. By the window is a wooden seat with a tiger skin spread on it. There are two chairs near the hearth. Ambika is sitting in one of these chairs winnowing paddy into a basket. Looking towards the window she takes a deep breath and then resumes her work. The front door opens and Mallika enters shivering in her wet clothes. Ambika continues working without looking up. Mallika hesitates momentarily, then comes over to Ambika. (Sarah, 167) The Plot and Summary of the Play: The play is divided into three acts. Setting remains the same but the Swastika paintings gradually fade away and some of the articles of the house go missing. Mallika and Kalidasa are out on a rainy day to enjoy the rain and nature. Mallika’s mother, Ambika does not like her daughter roaming around with Kalidasa. Mallika returns home and finds her mother annoyed. Kalidasa has taken a vow not to marry but Mallika loves Kalidasa. A state official comes and announces that Kalidasa is to be honoured by the King of Ujjain. Kalidasa does not want to accept the honour but his uncle, Matul wants him to 6 accept the honour of the state. Matul, Kalidasa’s maternal uncle comes agitated and angry as Kalidasa does not want to go to Ujjain to accept the honor of the King.