कृत्रिमपत्रिभेदनम्

If we are to preserve our culture and heritage, it is imperative that we acquaint our children with it. Teaching them Sanskrit is a necessary preliminary step towards it. Drshyakavya or drama is an entertaining way to teach language to children.

This drama is intended to be enacted by children of about 8-12 years of age. Through the well-known story of how Arjuna felled the wooden bird (Mahabharata, Adi Parva), it gently instructs the children about concentration. Traditionally, Sanskrit drama has a nandi, after which the sutradhara and the nati, his wife, introduce the drama. Because this is a children's drama, the introduction is done by two children. The other parts of traditional Sanskrit drama are retained, but are relevant to the present time and age.

Arjuna aiming at the wooden bird

पात्रधारिण:
सूत्रधारः
नटी (द्वावपि शालाविद्यार्थि-विद्यार्थिन्यौ)

द्रोणः
दुर्योधनः
युधिष्ठिरः
भीमः
अर्जुनः
अन्ये त्रिचतुरबालाः

(नान्दी)
यत्प्रसादाद्धि वैदुष्यं सिद्ध्यतेऽनलसां ध्रुवम् ।
सिद्धिबुद्धि समेतं तं नमामि गणनायकम् ॥
[नान्द्यन्ते प्रविशति सूत्रधारः]

सूत्रधारः - सखि इत आगम्यताम् ।
नटी (उपसृत्य) – वयस्य इयमस्मि । कथ्यताम् ।
सूत्रधारः – सखि अद्य कृत्रिमपत्रिभेदनं नाम नाटकं नाटयामः । तदस्मत्-परिषदः संतोषार्थं किमपि गीयताम् ।

नटी – अहो रमणीयता आषाढमासस्य । यतः

विकसितनयनाब्जाः बालकाः प्लावयन्तः
हिमकरसितपत्रैर्निर्मितं नावयूथम् ।
घनघनमिव भान्तं तम् बलाकाभिरामं
प्रमुदितहृदयास्ते पङ्किलं लोकयन्ति ॥

सूत्रधारः – सुष्ठु गीतं भवत्या । परन्तु मादृशानाम्

धिक्कष्टं प्रातरुत्थाने दिवास्वप्नं यदोत्थितम् ।
भृक्तं वाञ्छति जिह्वा मदाषाढं कष्टकारणम् ॥

सखि अद्यापि तर्जितोऽहं शालायां यत आचार्यदत्तसमस्या अपूर्णा एव मया प्रत्यर्पिता । कथम् अध्ययने श्रद्धा वर्धनीया। कथमेकाग्रता साधनीया। पठने त्वहं बहु कष्टमनुभवामि ।

नटी – वयस्य मा चिन्तय । महारथी गुरुवरश्च धनुर्धारी द्रोणः शिष्यैः सह इत एव आगच्छति । गुरोः बोधनं श्रुत्वा अस्माकमपि बुद्धिः सम्यक् निर्देशिता भवेत् । तदेहि गच्छावः ।
(इति निष्क्रान्तौ)

(ततः प्रविशति धनुर्धारी द्रोणः शिष्यैः सह)
द्रोणः – (पादं पादं पाठयति, शिष्याः तदेव अनुपठन्ति)

क्षणशः कणशश्चैव विद्यामर्थं च साधयेत् ।
क्षणत्यागे कुतो विद्या कणत्यागे कुतो धनम् ॥

प्रियशिष्याः यथेरितम् अस्मिन् श्लोके तथा समयस्य सदुपयोगः करणीयः ।
अद्य धनुर्विद्याभ्यासः करणीयः खलु । (सर्वान् विलोक्य) अद्य लक्ष्यभेदनं अभ्यासयामः । वत्स दुर्योधन । एहि । (दुर्योधनः उत्थाय द्रोणमुपसर्पति)
स्वहस्ते धनुरेतत् गृह्यताम् । तव लक्ष्योऽस्ति तत्र स्थितः कृत्रिमपक्षी । किं दृश्यते ।
दुर्योधनः – दृश्यते आचार्य ।
द्रोणः – किमन्यत् दृश्यते ।
दुर्योधनः – वृक्षः दृश्यते । वृक्षे मधुराणि फलानि दृश्यन्ते । वृक्षमवलम्ब्य वृद्धा लता दृश्यते । लतायां तुषारबिन्दुसदृशानि पुष्पाणि दृश्यन्ते ।
द्रोणः – किं मां द्रष्टुं शक्नोषि ।
दुर्योधनः (आचार्यमवलोक्य) – निष्चप्रचम् आचार्य ।
द्रोणः – त्वया लक्ष्यभेदनम् अशक्यम् । तद्गत्वा उपविश । वत्स युधिष्ठिर । एह्यत्र ।
युधिष्ठिरः (प्रणम्य) – अयमस्मि आचार्य ।
द्रोणः (धनुर्दत्वा) – किं लक्ष्यः दृश्यते ।
युधिष्ठिरः – दृश्यते आचार्य ।
द्रोणः – किं मां द्रष्टुं शक्नोषि ।
युधिष्ठिरः – (आचार्यम् अवलोक्य) आम् आचार्य ।
द्रोणः – किमन्यत् दृश्यते ।
युधिष्ठिरः – ममानुजाः, वृक्षाः, फलानि, लताः दृश्यन्ते ।
द्रोणः – त्वयापि लक्ष्यभेदनम् अशक्यम् । तद्गच्छ । वत्स भीम । एहि तावत् ।
भीमः – (प्रणम्य) अयमस्मि आचार्य ।
द्रोणः (धनुर्दत्वा) – किं लक्ष्यः दृश्यते ।
भीमः – दृश्यते आचार्य ।
द्रोणः – किम् माम् द्रष्टुम् शक्नोषि ।
भीमः – (आचार्यम् अवलोक्य) आम् आचार्य ।
द्रोणः – किमन्यत् दृश्यते ।
भीमः – ममानुजाः, वृक्षाः, फलानि, लताः दृश्यन्ते ।

मन्दानिलेन मकरन्दसुगन्धितेन
सम्प्रेष्य सन्दिशति मां विरमात्र चेति ।
आमन्त्रणं च करपल्लवचेष्टितेन
मित्रं ममाम्रतरुरार्य बुभुक्षितस्य ॥

द्रोणः – त्वयापि लक्ष्यभेदनम् अशक्यम् । तद्गच्छ । वत्स दुश्शासन । एहि तावत् ।

(सर्वे अन्ये छात्राः किमप्यनुक्त्वा केवलं नाटयन्ति । नेपथ्ये)

धार्तराष्ट्राः जिताः सर्वे पाण्डवानां चतुष्टयम् ।
एकाकी विजय: शिष्टः पश्यामोऽस्यापि दक्षताम् ॥

द्रोणः – वत्स अर्जुन । एहि ।
अर्जुनः (प्रणम्य) – अयमस्मि आचार्य ।
द्रोणः – लक्ष्यं पश्य । (अर्जुनः पश्यति) किं लक्ष्यं दृश्यते ।
अर्जुनः – अथ किम् ।
द्रोणः – किं मां द्रष्टुं शक्नोषि ।
अर्जुनः – न हि आचार्य ।
द्रोणः – किं वृक्षावलम्बिनी सुगन्धिपुष्पयुक्ता लता दृश्यते ।
अर्जुनः – न हि आचार्य ।
द्रोणः – किं वृक्षात् सद्य एव पतन्तीव भासन्तः पक्वानि फलानि दृश्यन्ते ।
अर्जुनः – न हि आचार्य ।
द्रोणः (सस्मितम्) – तर्हि मुञ्च शरम् ।
(अर्जुनः शरं मुञ्चति । लक्ष्यः पतति)
सर्वे – साधु साधु ।
द्रोणः – वत्स लक्ष्यभेदनं समीचीनतया कृतमद्य त्वया । तव एकाग्र-बुद्ध्या सर्वाः विद्याः करगता भवेयुः । मङ्गलमस्तु ते । (सर्वान् विलोक्य)
पञ्चाङ्गुल्योऽभिसङ्गत्य वस्तु कुर्वन्ति हस्तगम् ।
तथा पञ्चेन्द्रियैर्विद्या बुद्धिगम्या भविष्यति ॥

युष्माभिरपि यदि लक्षमेव लक्ष्यते तर्हि सर्वाः विद्याः नितरां सिद्ध्यन्ति ।

इयत्यभ्याशशीलेषु ममता विधियोषितः ।
यदागत्य स्वयम् देवी ह्येतेषां रसनास्थिता ॥
अभ्यासेनैव सिद्ध्यन्ते विद्याः सर्वाः सुदुर्लभाः ।
एकाग्रमतिमस्मभ्यं प्रददातु सरस्वती ॥

Author(s)

About:

Mother of two. Engineer. Worshiper of Indian music, poetry, and art.

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Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...