Andha Yug (II)_Act wise Summary

 Act wise summary   

Act I:

• Two guards are marching outside the Kaurava palace. They are very tired.
• Suddenly, they hear the terrifying sound. It is the sound of the fluttering wings of thousands of vultures (गिधाडे). The vultures are flying towards Kurukshetra. According to them it is a bad omen.
• Dhritarashtra and Gandhari are waiting for Sanjaya. But instead of Sanjaya, there comes Vidura.
• Dhritarashtra tells Vidura that for the first time in his life he is feeling afraid. But according to Vidura, now it is too late.
• Vidura quotes Krishna: “Surrender your heart and mind to me… You must have faith”.
• Gandhari becomes upset with the mention of Krishna. According to her, Krishna himself has violated the code of honour again and again.
• The chorus proclaims: “There are still two fading embers (विझू लागलेले निखारे) left in the ruined city” (उध्वस्त शहर – हस्तिनापूर).

Act II:

· Sanjaya is lost his way to Hastinapur.

· In the forest, Sanjaya meets Kritavarma, Kripacharya and Ashwatthama.

· According to Kritavarma, only three people from the Kaurava side have been survived: he himself, Kripacharya and Ashwatthama.

· Ashwatthama is seen full of vengeance (सूडभावना). Ashwatthama tells the audience how his father (Guru Dronacharya) was killed treacherously by Dhristadyumna and how Yudhishthira is involved in this.

· Sanjaya tells Ashwatthama that Duryodhana is still alive and hiding in one enchanted lake. They all ask Sanjaya to take them to that lake.

Act III:

· Guard informs Dhritarashtra and Vidur that one monster has arrived in the city of Hastinapur. Actually, it is Yututsu who comes to the city. No one welcomes Yuyutsu because he has fought on Yudhishthira’s side in the war.

· The guard informs Dhritarashtra about the arrival of Sanjaya and the sad news of the defeat of Duryodhana.

· In the forest, Ashwatthama tells Kripacharya and Kritavarma that he was present there when Bhima killed Duryodhana, and he was killed by treachery.

·  Ashwatthama takes a vow to destroy all the Pandavas.

·  Duryodhana asks Kripacharya to appoint Ashwatthama as the commander.

·  Ashwatthama decides to go to the Pandava camp to take his revenge.

Act IV:

• The Pandavas were unarmed and asleep.
• Outside the camp, Ashwatthama prays Lord Shankar/Shiva who blesses him saying, “Ashwatthama, you will be victorious”.
• Sanjaya informs Gandhari how in the camp, Ashwatthama killed Dhrishtadyumna and other Pandava soldiers mercilessly.
• But Ashwatthama’s job is not yet over. He wants to kill the baby in the womb of Uttara so that there won’t be any heir to the Pandava dynasty.
• Gandhari asks Sanjaya to take off her blindfold so that she could transform Ashwatthama’s body into ‘a bright diamond’.
• Ashwatthama and Arjuna release the Brahmastra.
• Vyasa asks Ashwatthama to recall the Brahmastra. But Ashwatthama could not because his father had not taught him that technique.
• Krishna accepts the blow of Brahmastra; Krishna exchanges his life for the baby in Uttara’s womb.
• Krishna curses Ashwatthama; takes his ‘talismanic gem’ and leaves him to wander forever.
• Gandhari curses Krishna: “all your friends and kinsmen shall attack and kill each other… you will be killed by an ordinary hunter.”
• Krishna calls Gandhari his mother and accepts the curse.

Act V:

·       The scene takes place after some years of the great war.

·       Yudhishthira is now ruling over Hastinapur, but the city never regain its gone glory.

·       Frustrated Yudhishthira claims, “I am alone and defeated.”

·       Yuyutsu has lost his voice. He is insulted by everyone including Bhima.

·       Yuyutsu commits suicide.

·       Kripacharya tells Vidura that Yudhishthira’s kingdom is on the verge of collapse and so I’m leaving Hastinapur.

·       Dhritarashtra, Gandhari, Kunti and Sanjaya are in the forest. The forest is ablaze.

·       Gandhari repents over the curse she has bestowed on Krishna.

·       Gandhari, Dhritarashtra, Kunti die in the fire.

·       Yudhishthira understands that his victory in war was hollow. He too wants to commit suicide on the slopes of the Himalayas.

Epilogue:

·        It deals with the death of the Lord Krishna.

·       The chorus narrates that Lord Krishna was sitting under the shade of a peepul tree. He leaned the tree placing his left foot ‘shaped like a deer’s face’ on his right thigh.

·       Ashwatthama was watching Krishna. He accuses Krishna for his ‘adharma’.

·       Sanjay is also there and wants to surrender Lord Krishna.

·       There comes one hunter who mistakes Krishna’s foot for a deer and releases his arrow in that direction.

·       Looking at this, Ashwatthama laughs wildly, and Sanjaya screams and faints.

·       The chorus announces: “The moment Krishna was killed, Dvapara yug came to an end and on this god-forsaken earth Kali yug took its first step.”

Andha Yug (I)_Synopsis in Marathi

अंधा युग – नाटकाविषयी थोडक्यात

•  स्वातंत्र्योत्तर कालखंडातील भारतीय रंगभूमीवरील हे एक अत्यंत महत्त्वपूर्ण नाटक आहे. महाभारतातील कुरुक्षेत्रावर झालेल्या कौरव-पांडवांच्या युद्धानंतर झालेला घटनाक्रम या नाटकात मांडलेला आहे. धर्म-अधर्म, न्याय-अन्याय याची चिकित्सा करतानाच युद्धाने, संहाराने प्रश्न सुटतात का असा एक मुलभूत प्रश्न हे नाटक उपस्थित करते.
• कुरुक्षेत्रावरील युद्ध संपल्यानंतर १८ व्या दिवशी संध्याकाळी नाटक सुरु होते.
•  श्रीकृष्णाची अवतारसमाप्ती होते (एका शिकाऱ्याकडून कृष्णाची हत्या होते) तिथे नाटक संपते.
•   यानंतर द्वापरयुग संपले आणि ‘अंधा युग’ म्हणजेच कलियुग सुरु झाल्याचे कोरस प्रेक्षकांना  सांगतो.
• नाटकात एकूण ५ अंक आहेत. नाटकाची सुरुवात Prologue ने होते आणि शेवट Epilogue ने होतो. 
• धर्मूमवीर भारती यांचे हे नाटक मूळ  हिंदी भाषेमध्ये लिहिले आहे. अलोक भल्ला यांनी या नाटकाचा इंग्रजी अनुवाद केला आहे.

प्रमुख पात्रे

१     अश्वत्थामा : गुरु द्रोणाचार्यांचा मुलगा; महाभारताच्या युद्धामध्ये अश्वत्थामा मारला गेल्याची बातमी ऐकून गुरु द्रोणाचार्य हतबल होतात. बातमी खरी आहे का हे तपासण्यासाठी ते याबाबत युधिष्ठिराला विचारतात. युधिष्ठिराला नेमके माहित असूनही तो नर होता की हत्ती याबाबत संदिग्धता असल्याचे म्हणतो (“नरो वा कुंजरो वा”). हे ऐकून द्रोणाचार्यांच्या हातून शस्त्र गळून पडते आणि मग नि:शस्त्र द्रोणाचार्यांची दृष्टद्युम्न हत्या करतो.

वडलांच्या हत्येचा बदला घेण्यासाठी अश्वत्थामा सुडाने पेटतो. दुर्योधनानंतर कौरव सेनेचा तो सेनापती बनतो. कौरवांच्या छावणीवर रात्रीच्या वेळी तो त्वेषाने हल्ला चढवतो. दिसेल त्याला मारत सुटतो. झोपी गेलेल्यानांही तो सोडत नाही. दृष्टद्युम्नचा वध करतो. शेवटी तो ब्रम्हास्त्र सोडतो. याला प्रत्यत्तर म्हणून अर्जुनही ब्रह्मास्त्र सोडतो. कृष्ण होणारा विनाश ओळखून दोघांनाही ब्रह्मास्त्र मागे घेण्यास सांगतात. परंतु ते मागे कसे घ्यायचे याची विद्या अश्वत्थामाला ठाऊक नसल्याने ते ब्रह्मास्त्र तो अभिमन्यूची पत्नी उत्तरा हिच्या उदराच्या दिशेने सोडतो, जेणेकरून पांडवांचा निर्वंश व्हावा. क्रोधीत कृष्ण ब्रह्मास्त्र स्वतःवर घेतात आणि अश्वत्थामाला शरीरभर जखमा घेऊन विकल अवस्थेत सृष्टीच्या अंतापर्यंत भटकत राहशील असा शाप देतात.

‘अंधा युग’ नाटकातील हे एक प्रमुख पात्र आहे. तो स्वतःची तुलना कृष्णाशी करतो. त्याच्यामते कृष्णाने देखील कपटाचा आधार घेतला आहे. मग त्याचा तो धर्म आणि माझा तो अधर्म कसा, असा त्याचा सवाल आहे.

२ युयुत्सु : हा दुर्योधन आणि गांधारीचा पुत्र आहे. कुरुपुत्र असून देखील महायुद्धामध्ये तो पांडवांच्याकडून लढतो. सत्य आणि धर्माच्या बाजूने आपण लढत असल्याचे तो सांगतो. नाटकामध्ये युद्ध संपल्यानंतर तो हस्तिनापूरला परत आल्याचे दाखवले आहे. परंतु त्याला तिथे कोणीही स्वीकारत नाही. उलट एक भयावह श्वापद म्हणून त्याच्याकडे सर्वजण पाहतात. केवळ विदुर त्याला समजून घेतो. विदुराच्या मते तो जिवंत असलेला शेवटचा कौरव आहे.

युद्ध समाप्तीनंतर युधिष्टिर हस्तिनापूरचा राजा होतो. युयुत्सुला तिथेच आश्रय दिला जातो. पण तिथली जनता त्याला स्वीकारत नाही. त्याचा प्रचंड छळ होतो. शेवटी त्याची वाचा जाते. एके दिवशी तो कृपाचार्यांच्या हातातला भाला हिसकावून घेतो आणि स्वतःच्या पोटात खुपसून घेत आत्महत्या करतो.

सत्य आणि धर्माच्या बाजूने उभे राहूनदेखील माझे आयुष्य असे का, या प्रश्नाने युयुत्सु पुरता कोलमडून गेलेला नाटकात पाहायला मिळतो.

३ गांधारी : अंध दुर्योधनाची धर्मपत्नी. आपला पती अंध आहे हे विवाहानंतर समजून आल्याने तिने आपल्या डोळ्यावर आयुष्यभर पट्टी बांधली आहे. महायुद्धाच्या अठराव्या दिवशी ‘अंधा युग’ नाटकाला सुरुवात होते. यावेळी दुर्योधन (आणि युयुत्सु) सोडून तिचे सर्व पुत्र मारले गेले आहेत. भीमाने ज्या पद्धतीने दु:शासनाला मारल्याचे तिला कळते, तेव्हा ती अत्यंत क्रोधीत होते. नाटकाच्या सुरुवातीला गांधारी आणि धृतराष्ट्र हे दुर्योधनाची आणि त्याच्या विजयाची वाट पाहत असलेले दिसतात.

पुढे संजयकडून तिला दुर्योधन देखील अत्यंत क्रूरपणे मारला गेल्याचे कळते. त्याचवेळी अश्वत्थामा हा सेनापती झाल्याचे आणि त्याने अंधाऱ्या रात्री झोपलेल्या पांडवांच्या छावणीवर हल्ला चढवत सैनिकांची निर्घृण हत्या केल्याचे कळते, तेव्हा तिला काही क्षणांसाठी समाधान मिळते. अश्वत्थाम्याला संरक्षक कवच मिळावे म्हणून गांधारी पहिल्यांदा आपल्या डोळ्यावरची पट्टी उघडते.

अटीतटीच्या लढाईत अश्वत्थामा आणि अर्जुन ब्रह्मास्त्र सोडतात, कृष्ण ते स्वतःवर ओढवून घेतो आणि विनाश टाळतो. तसेच तो अश्वत्थाम्याला शाप देतो. यावेळी झालेला अपमान, पदरी पडलेले अपयश आणि सगळ्यात महत्त्वाचे म्हणजे सर्व पुत्रांचा झालेला मृत्यू सहन न होऊन गांधारी कृष्णाला शाप देते. तिच्या म्हणण्यानुसार या महायुद्धाला सर्वस्वी कृष्ण जबाबदार आहे. हा नरसंहार तो थांबवू शकला असता. ‘तुझे आप्त, सगेसोयरे सर्वजण एकमेकावर हल्ला करतील आणि पिसाळलेल्या कुत्र्याप्रमाणे एकमेकाला खाऊन टाकतील. आणि हा सर्व विनाश पाहिल्यानंतर एके दिवशी तू जंगलामध्ये एका पारध्याच्या हातून मरण पावशील’ असा गांधारी कृष्णाला शाप देते.

युधिष्टीर गादीवर बसल्यानंतर धृतराष्ट्र, गांधारी, कुंती आणि संजय वानप्रस्थाला जातात. इथे जंगलाला लागलेल्या वणव्यामध्ये धृतराष्ट्र, गांधारी, कुंती यांचा होरपळून मृत्यू होतो. नाटकामध्ये अश्वत्थामा, युयुत्सु यांच्याप्रमाणेच गांधारी धर्म-अधर्म, सत्य-असत्य या संघर्षात सापडलेली दिसून येते.

अन्य पात्रे :

संजय : महर्षी व्यासांनी याला दिव्य दृष्टी बहाल केलेली आहे. कुरुक्षेत्रावर चाललेले युद्ध प्रत्यक्ष तो पाहत असून त्याचा इतिवृत्तांत तो धृतराष्ट्र आणि गांधारीला सांगत आहे. एक तटस्थ आणि त्रयस्थ व्यक्ती म्हणून त्याच्याकडे सर्वजण पाहतात.

विदुर : धृतराष्ट्र आणि पंडूचा सावत्रभाऊ, अत्यंत बुद्धिमान, कौरव-पांडवांचा काका. नाटकामध्ये तो अश्वत्थामा, गांधारी आणि युयुत्सु यांना कृष्णाची भूमिका समजावून सागण्याचा प्रयत्न करताना दिसतो.    

Question Paper Pattern_III

 Paper No. III

Question Paper Pattern

Q. 1 A) 10 MCQs on module 2 and 3                                 (10)

Q. 1 B) 10 objective type questions on module 2 and 3      (10)

Q. 2 Answer the following questions in about 250-300 words  (10)

       (A or B) on module 2

Q. 3 Answer the following questions in about 250-300 words   (10)

       (A or B) on module 3

Q. 4 Write short notes in about 200 words (4/6)                       (20)

(4 on module 1; 2 on module 2 and 3)

Q. 5 A) Write short notes (2/4) (On module 4)                          (10)

Q. 5 B I) MCQs on module 4                                                     (05)

Q. 5 B II) Objective type questions on module 4                       (05)

Brevity in one-act play

 Brevity in one-act play

1. Meaning and Importance:

Brevity is the soul of the one-act play. The word brevity means shortness or compactness. It refers to the ability to express much in a few words or within a short span of time. In a one-act play, brevity is not just a feature, it is the defining quality that shapes the entire structure of the play. Since a one-act play presents a complete story in a single act, it must achieve unity and dramatic impact within a short time frame of around 20 to 30 minutes.
Therefore, every part of the play — plot, character, dialogue, and action — must be precise and purposeful.

2. Brevity in Plot and Structure:

The plot and structure of a one-act play is compact and concentrated.
There is only one act and often just one scene, so the playwright cannot waste time on elaborate beginnings or lengthy conclusions. The story usually begins in the middle of the action and moves swiftly toward the climax.
All unnecessary details, background stories, and diversions are omitted.
This creates a sense of urgency and focus, keeping the audience’s attention fixed on the central situation.

3. Brevity in Characterization:

A one-act play has few characters, often two to four, and each one has a clear and essential role. There is no time for long introductions or detailed psychological development. Instead, the characters are revealed quickly through sharp, realistic dialogue and significant actions. The audience gets to know them instantly through their words and behavior.
This economy in character presentation is part of the play’s brevity and strength.

4. Brevity in Dialogue:

The dialogues in a one-act play are short, meaningful, and functional.
Every line either reveals character, advances the plot, or expresses emotion. There is no place for long speeches or unnecessary conversation.
This makes the play move quickly and keeps the audience fully engaged.

5. Brevity in Emotion and Theme:

Because the play is short, it focuses on one strong emotion or central idea, for example love, pride, or sacrifice. The emotional experience is intense and concentrated. Unlike long plays, which may explore several moods or subplots, the one-act play directs all its energy toward one dominant feeling or moral idea. This gives it clarity and depth despite its short length.

6. Effect of Brevity:

Brevity makes the one-act play sharp, direct, and impactful.
It allows the audience to experience a full dramatic arc — conflict, climax, and resolution — within a limited time. The short length also makes it ideal for amateur performances, as it can be rehearsed and staged easily.
Brevity thus ensures that the play is artistically satisfying, emotionally rich, and practically convenient.

Elements of one-act play

Elements of one-act play:

Introduction:

Plot, character, dialogue, setting, theme, etc. are the main elements of one-act play.

Plot:

The plot is the soul of a one-act play. It is the organized sequence of events.
In a one-act play, the plot is simple, direct, and compact because there is no division into multiple acts or scenes. It usually revolves around a single incident or conflict that begins, develops, and ends within a short period.
There are generally no subplots or unnecessary complications. Every incident contributes directly to the main action. Since time is limited, the playwright must start the play in the middle of the action and move quickly toward the climax and resolution. A well-constructed plot keeps the audience interested and gives the play unity and balance.

2. Characters:

A one-act play usually contains a small number of characters — sometimes just two or three. Each character must be essential to the story; there is no space for minor or decorative roles. Since there is not enough time for long character development, the playwright must reveal character traits through concise dialogue, sharp actions, and quick reactions.
Each character represents a clear type or idea — for example, love, greed, courage, or fear. In a short span, the audience should understand who the characters are and what they stand for. A good one-act play depends on strongly drawn, realistic characters who make the action believable.

3. Theme:

The theme is the central idea or message that the play conveys. It could be moral, social, emotional, or philosophical. In a one-act play, the theme must be clear and focused, because there is little time to develop multiple ideas. Everything — the dialogues, actions, and conflict — should help to express this single idea. The theme gives the play depth and purpose, turning a simple story into a meaningful experience.

4. Dialogue:

The dialogue is the most important tool of expression in drama. In a one-act play, it must be natural, brief, and expressive. Since the play is short, there is no room for long speeches or unnecessary talk. Each line of dialogue must reveal character, move the story forward, or create emotional tension. Good dialogue reflects the speaker’s personality, background, and emotions. It should sound realistic but also artistic, maintaining rhythm and dramatic effect. Effective dialogue gives life and energy to the play, making it interesting to perform and to watch.

5. Setting:

The setting means the time and place in which the action occurs. In a one-act play, the setting is usually limited to one place — a room, a garden, a street, or any specific location. Frequent scene changes are avoided to save time and maintain unity. The setting helps to establish the mood, social background, and atmosphere of the play. For example, a dark room can suggest mystery or fear, while a sunny garden can suggest peace and happiness. Props and stage design are simple but meaningful — they must support the story without distracting the audience.

Origin of One-Act Play

 

1. Origin of one-act play:

Drama form began as ritualistic performance (धार्मिक विधी). The early humans enacted religious stories, myths (पौराणिक कथा), and festivals. These performances were short, and consisting of a single episode or event. These performances were close to what we now call a one-act play. Here, the emphasis was on action and emotion, not on plot or structure.

2. Classical Origins:

Around 6^th century BCE, in ancient Greece, a full-length drama form developed. But along with this, there were short, humorous plays. They were known as Satyr plays (सॅटर प्लेज). Such plays were performed between long tragic dramas to provide comic relief. These early short plays focused on a single situation or theme.

3. Medieval Period:

Around 12-13^th century AD, in Europe, the Miracle plays, Morality plays, and Mystery plays became popular. They had short episodes based on biblical stories (बिब्लीकल स्टोरीज/बायबलमधील गोष्टी) or moral lessons. Many of these were one-act performances. They were staged in marketplaces or churches to teach religious values to common people.

4. 15th to 18th Century:

During the 15^th century, full-length drama became popular. However, the tradition of performing short plays between acts continued to exist. Such plays were known as ‘interludes’. Writers such as John Heywood in England (16th century) wrote short humorous interludes, which were early examples of one-act comedies.

5. Modern Revival:

The modern one-act play began to take shape in the late 19th century. ‘Curtain raiser’ (कर्टन रेझर) was the final stage for the emergence of the modern one-act play. The custom of presenting curtain raisers began in the late 19th century England. To keep audience entertained, theatres would start the program with a short play or ‘curtain raiser’ before the main play. Playwrights (प्लेराईट/नाटककार) such as J. M. Barrie, W. W. Jacobs, and Harold Brighouse wrote some famous curtain raisers.

At last, in the 20^th century, the playwrights like Anton Chekhov (अँटन चेखॉव्ह) (in Russia) and August Strindberg (ऑगस्ट स्टाईनबर्ग) (in Sweden) experimented with short plays that captured a moment of life with psychological depth. This period marks the true beginning of the modern one-act play.

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Speech Mechanism (Short notes)

 (e-Content developed by Prof. (Dr) Nitn Jarandikar)

Write short notes:

1.   The phonatory system or LARYNX (स्वरयंत्र)

The human organs which are involved in producing sounds are termed as speech organs. An air that comes out from lungs is the main source of a sound. That air passes through wind pipe (श्वसननलिका), larynx and mouth to produce a sound. All the speech organs are divided into three systems. These systems are as follows:

i.            The respiratory system (रेस्पिरेटरी सिस्टम);

ii.           The phonatory system (फोनेटरी सिस्टम);

iii.         The articulatory system (आर्टिक्यूलेटरी सिस्टम)

The phonatory system comprises of the larynx (लॅरिन्क्स). The larynx is commonly known as the Adam’s apple (अॅडम्स अॅपल). The larynx is situated at the top of the windpipe (विंडपाईप). The air from the lungs has to come out through the windpipe and the larynx.

In the larynx, there is a pair of lip-like structures. These are called the ‘vocal cords’ (व्होकल कॉर्ड्स). There is an opening between the cords. It is called the ‘glottis’ (ग्लॉटीस). The air coming from the lungs passes through this glottis.

2.   The roof of the mouth:

The human organs which are involved in producing sounds are termed as speech organs. An air that comes out from lungs is the main source of a sound. That air passes through wind pipe (श्वसननलिका), larynx and mouth to produce a sound. All the speech organs are divided into three systems. These systems are as follows:

i.            The respiratory system;

ii.           The phonatory system;

iii.         The articulatory system

The roof of the mouth is a part of the articulatory system. The nose, the teeth, the tongue and the lips are the other speech organs related to the articulatory system.

The following are the main parts of the roof of the mouth:

i)            Teeth ridge (टीथ रिज): The hard bony part that lies behind the teeth is known as the teeth ridge.

ii)           Hard palate (हार्ड पॅलेट): The hard concave surface that lies behind the teeth ridge is termed as the hard palate.

iii)         Soft palate (सॉफ्ट पॅलेट): The soft concave surface that lies behind the hard palate is termed as the soft palate.

iv)          Uvula (युव्हूला) (पडजीभ): The fleshy structure hanging loose at the end of the roof of the mouth is termed the uvula.

3.   Active-Passive articulators:

In simple words, articulators mean speech organs. There are many speech organs involved to produce a sound. Air that we breathe out from the lungs is the basis of a sound. Thus, lungs, larynx, tongue, roof of the mouth, nose, lips, etc. are termed as the speech organs or articulators.

While producing a sound, it is not necessary that all the speech organs should work simultaneously. In fact, only few speech organs are actively involved every time to produce a sound. To produce a sound, at least two articulators are needed.

The speech organs which remain active every time are termed as the active articulators. These articulators are necessary to produce any sound. The tongue and the lower lip are termed as the active articulators.

The other articulators do not remain active while producing each and every sound. For example, teeth, upper lip, teeth ridge, hard palate, soft palate, etc. These articulators are termed as the passive articulators.

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