aashaadh ka ek din

naatakakaar mohan Rakesh ne aashaadh ka ek din 1958 mein prakaashit kiya

aashaadh ka ek din san 1958 mein prakaashit aur naatakakaar mohan Rakesh dvaara rachit ek hindi naatak hai.[1] ise kabhi-kabhi hindi naatak ke aadhunik yug ka pratham naatak kaha jaata hai.[2] 1959 mein ise varsh ka sarvashreshth naatak hone ke liye sangeet naatak academy puraskaar se sammaanit kiya gaya aur kain prasiddh nirdeshak ise manch par la chukein hain.[1] 1971 mein nirdeshak mani kaul ne is par aadhaarit ek film banaai jisne aage jaakar saal ki sarvashreshth film ka filmafeyar puraskaar jeet liya.[3][4] aashaadh ka ek din mahaakavi kaalidaas ke niji jeevan par kendrit hai, jo 100 i॰apoo॰ se 500 isavi ke anumaanit kaal mein vyateet hua.

anukram

sheershak ki prerana

is naatak ka sheershak kaalidaas ki kruti meghadootam ki shuruaati panktiyon se liya gaya hai.[1] kyonki aashaadh ka maheena uttar Bhaarat mein varsha ritu ka aaranbhik maheena hota hai, isliye sheershak ka arth "varsha ritu ka ek din" bhi liya ja sakta hai.

kathaanak

aashaadh ka ek din ek trikhandeeya naatak hai. pratham khand mein yuvak kaalidaas apne himaalaya mein sthit gaaainv mein shaantipoorvak jeevan gujaar raha hai aur apni kala viksit kar raha hai. vahaaain usaka ek yuvati, mallika, ke saath prem-sambandh bhi hai. naatak ka pehla rukh badalta hai jab door ujjayini ke kuchh darabaari kaalidaas se milte hain aur use samraat chandragupt vikramaaditya ke darbaar mein chalne ko kehte hain. kaalidaas asamanjas mein pad jaata hai: ek taraf usaka sundar, shaanti aur prem se bhara gaaainv ka jeevan hai aur doosari taraf ujjayini ke raajadarabaar se prashraya paakar mahaanata chhoo lene ka avsar. mallika to yahi chaahati hai ke jis purush ko vah pyaar karti hai use jeevan mein safalta mile aur vah kaalidaas ko ujjayini jaane ki rai deti hai. bhaari man se kaalidaas ujjayini chala jaata hai. naatak ke dviteeya khand mein pata lagta hai ke kaalidaas ki ujjayini mein dhaak jam chuki hai aur har or usaki khyaati faili hui hai. usaka vivaah ujjayini mein hi ek aakarshak aur kuleen stri, priyangumanjari, se ho chuka hai. vahaaain gaaainv mein mallika dukhi aur akeli rah gayi hai. kaalidaas aur priyangumanjari, apne ek sevakon ke dal ke saath, kaalidaas ke puraane gaaainv aate hain. kaalidaas to mallika se milne naheen jaata, lekin priyangumanjari jaati hai. vah mallika se sahaanubhooti jataati hai aur kehti hai ki vah use apni sakhi bana legi aur usaka vivaah kisi raajasevak se karva degi. mallika aisi sahaayata se saaf inkaar kar deti hai. naatak ke truteeya aur antim khand mein kaalidaas gaaainv mein akele hi aa dhamakata hai. mallika tak khabar pahuainchati hai ke kaalidaas ko Kashmir ka raajyapaal bana diya gaya tha lekin vah sab kuchh tyaag ke aa gaya hai. nissahaaya mallika tab tak ek veshya ban chuki hai aur usaki ek chhoti se beti hai. kaalidaas mallika se milne aata hai lekin, mallika ke jeevan ki in sachchaaiyon ko dekh, poori tarah niraash hokar chala jaata hai. naatak isi jagah samaapti par pahuainchata hai.[1][5]

naatak ke ek sameekshak (kritik) ne kaha hai ke naatak ke har khand ka ant mein "kaalidaas mallika ko akela chhod jaata hai: pehle jab vah akela ujjayini chala jaata hai; doosra jab vah gaaainv aakar bhi mallika se jaanaboojh kar naheen milta; aur teesara jab vah mallika ke ghar se achaanak mud ke nikal jaata hai."[6] yeh naatak darshaata hai ki kaalidaas ke mahaanata paane ke prayaas ki mallika aur kaalidaas ko kitni badi keemat chukaani padti hai. jab kaalidaas mallika ko chhodkar ujjayini mein bas jaata hai to usaki khyaati aur usaka rutaba to badhta hai lekin usaki srujanashakti chali jaati hai. usaki patni, priyangumanjari, is prayaas mein juti rahati hai ke ujjayini mein bhi kaalidaas ke ird-gird uske gaaainv jaisa vaataavaran bana rahe "lekin vah swayam mallika kabhi naheen ban paati."[5] naatak ke ant mein jab kaalidaas ki mallika se antim baar baat hoti hai to vah kubool karta hai ke "tumhaare saamane jo aadmi khada hai yeh vah kaalidaas naheen jise tum jaanti thi."[5]

naatakakaar ki tipnni

apne doosare naatak ("laharon ke raajahans") ki bhoomika mein mohan Rakesh nein likha ki "meghadoot padhte hue mujhe laga karta tha ki vah kahaani nirvaasit yaksh ki utani naheen hai, jitni swayam apni aatma se nirvaasit us kavi ki jisne apni hi ek aparaadh-anubhooti ko is parikalpana mein dhaal diya hai." mohan Rakesh ne kaalidaas ki isi nihit aparaadh-anubhooti ko "aashaadh ka ek din" ka aadhaar banaaya.[7]

inhein bhi dekhein

sandarbh

  1. ↑ a aa i E Amaresh Datta, The Encyclopaedia Of Indian Literature, Volume 1, Sahitya Akademi, 2006, aai॰aऍsa॰abee॰aऍna॰ 9788126018031, http://books.google.co.in/books?id=ObFCT5_taSgC, "... Ashadh ka ek din (Hindi), a well-known Hindi play by Mohan Rakesh. was first published in 1958. The title of the play comes from the opening lines of the Sanskrit poet Kalidasa's long narrative poem ..."
  2. ↑ Gabrielle H. Cody; Evert Sprinchorn (2007). The Columbia encyclopedia of modern drama, Volume 2. Columbia University Press. pa॰ 1116. aai॰aऍsa॰abee॰aऍna॰ 0231144245. http://books.google.com/books?id=aQqOKWmjdQUC&pg=PA1117&dq=%22Shyamanand+Jalan%22&hl=en&ei=PtN0TfiZL8XjrAejtYDSCg&sa=X&oi=book_result&ct=result&resnum=8&ved=0CEkQ6AEwBw#v=onepage&q=%22Shyamanand%20Jalan%22&f=false.
  3. ↑ John Wakeman, World Film Directors: 1945-1985, H.W. Wilson, 1988, http://books.google.co.in/books?id=8aEYAAAAIAAJ, "... His second film, Ashad ka ek din (A Monsoon Day, 1971), was based on a play by Mohan Rakesh, a well-known contemporary Hindi ..."
  4. ↑ aashaadh ka ek din Internet moovi detaabes par
  5. ↑ a aa i Kishore C. Padhy, N. Patnaik, The challenges of tribal development, Sarup & Sons, 2000, aai॰aऍsa॰abee॰aऍna॰ 9788176251082, http://books.google.co.in/books?id=ENvXnBOdQvcC, "... goes to Ujjain and is elevated to the status of governor of Kashmir ... elaborate efforts of Priyangumanjari to reproduce for him the native environment ... she is no substitute for Mallika ... he can tell Mallika that the man she had before her was not the Kalidasa she had known ..."
  6. ↑ Aparna Bhargava Dharwadker, Theatres of independence: drama, theory, and urban performance in India since 1947, University of Iowa Press, 2005, aai॰aऍsa॰abee॰aऍna॰ 9780877459613, http://books.google.co.in/books?id=mLQaz-12Eo8C, "... each of the three acts in the play ends with an act of abandonment on the part of Kalidasa: when he leaves for Ujjayini alone; when he deliberately avoids meeting with Mallika during his subsequent visit to the village; when he leaves her home abruptly at the end ..."
  7. ↑ Mohan Rakesh, Lehron ke rajhans (King-swans of the waves), Rajkamal Prakashan Pvt Ltd, 2009, aai॰aऍsa॰abee॰aऍna॰ 9788126708512, http://books.google.co.in/books?id=0Fysjw9mCmQC, "... meghadoot padhte hue mujhe laga karta tha ki vah kahaani nirvaasit yaksh ki utani naheen hai, jitni swayam apni aatma se nirvaasit us kavi ki jisne apni hi ek aparaadh-anubhooti ko is parikalpana mein dhaal diya hai (when I read Meghdoot, I would feel that the story was less about a dispossesed yaksh than about a poet so alienated from his own soul that he has poured his guilt-realization into this opus) ..."
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