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Jivanandana of Anandaraya Makhin (Study)

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

This page relates ‘Analysis of Nandi� 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.

Go directly to: Footnotes.

[Stage-Conventions]:—All parts of the plot should be divided into two as ūⲹ and ṛśy-śⲹ. The part of the story which is not agreeable and is improper must be informed indirectly (ūⲹ) and the part of the story which is full of illustrious feelings and sentiment must be spoken and shown on the stage (śⲹ-ś屹ⲹ). Also there are certain technicalities called ṭyǰپ.

[Section A: Vastu of Jīvānanda ṭa첹]:—The play wright of this ṭa첹, Ānandarāya Makhin follows the ṭa첹lakṣaṇa, as laid by Bharata and other dramturgists almost meticulously in constructing this play. An suiting the ṭa첹 type of ū貹첹, the theme and action of the play, falling under the criteria called Vastu, has been efficiently handled by the playwright producing a relishable play complete in all respects. The Vastu of the play, comprising of the five�ٳ󲹱ṛt and the five ٳ shaping into Sandhis and Իⲹṅg and other dramatic features–is discussed in this section

Two verses are presented by the author as Իī verses with which this play opens on the stage. Both of them are śīԲ; while the first is indictive of the plot and the second Իī establishes the aim of the plot (ٳܲԾś).

Իī is the initial worship to the Almighty rendered before starting the play. It is in the form of a prayer for the successful staging of the play. Իī is of three types as�ś� (benediction), Բ (salutation) and ٳܲԾś (hinting the subject matter). Also, it is to be composed with words like śṅk, candra, abja, and kairava which are considered to be auspicious.[1]

Of the two Իī verses in Jivānanda ṭa첹, the first[2] seeks the blessings of Dhanvantarī and the second[3] invokes lord Ś’s Grace. The first verse also carries such words as ṣmī� and candra. The fight for ṛt alluded to in the first Իī indicates the fight of ī and ۲ṣm in the drama; the second verse establishes the subject matter stating that for procuring at first trivarga (dhama, artha and ) and later ǰṣa, a healthy body is a must and ǰṣa in possible only by the grace of the Supreme.

Footnotes and references:

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[1]:

󾱳ٲⲹ岹貹ṇa, VI. 24-5:
śīԲaṃyuktā stutiryasmātprayujyate |
devadvijanṛpādīnā� tasmānnāndīti saṃjṣitā ||
māṅgalyaśṅkcandrābjakokairavaśaṃsinī |
padairyuktā dvādaśabhiraṣṭābhirvā padairuta ||

[2]:

Իī 1:
lakṣmīkairavabandhukalpakatarūn labdhvāpyalabdhepsite bhūyo manthati devadānavagaṇe dugdhābdhimṛddhaśrame |
ٲԲԻ岹ٳܲ samudayan ܳ� ܻūٲ� vibhrāṇa� svakare karotu bhavatā� bhadrāṇi 󲹲ԱԳٲ� ||

[3]:

Իī 2:
岵ᲹԳīⲹٲ貹� 󲹱� tanubhṛtā prāpyeta mānuṣyaka� tacca prāptavatā kimanyaducita� prāptu� ٰ� |
ٲٱٱ辱 󲹲Բ� prathamato deho rujāvarjitastenārogyamabhīpsita� diśatu vo 𱹲� 貹śū� 貹پ� ||

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