Jaishankar Prasad’s Dhruvasvāminī
Reviewed by
Dr. Sapna Dogra
Assistant Professor
(English),
Atal Bihari Vajpayee
Government Degree College Sunni, Shimla, Himachal Pradesh University, India.
Dhruvasvāminī
| Drama
(Translated by Savita Kiran) | Jaishankar Prasad |
Shwetwarna Prakashan, 2021, INR 88, pp.
88
ISBN 978-81-976575-9-7
Dhruvasvāminī,
originally penned by the eminent Hindi playwright Jaishankar Prasad and
translated into English by Savita Kiran, is a historical drama set against the
backdrop of the Gupta Empire. This play delves into themes of women’s
empowerment, identity, and societal roles, making it a compelling read for
literature enthusiasts, academics, and theatre practitioners. My initial
reaction to the book was one of admiration for its rich narrative and the
seamless translation that preserves the poetic essence of Prasad’s original
work.
The narrative centres around Dhruvasvāminī, a queen who
transitions from a position of powerlessness to becoming a catalyst for change.
Her journey is juxtaposed with that of Komā, highlighting the broader struggle
for women’s rights and empowerment. The plot is intricately woven, with
Prasad’s mastery in creating compelling characters and intricate plots evident
throughout. The story flows smoothly, maintaining the reader’s interest with
its dramatic flair and emotional intensity. The pacing is well-balanced, with
moments of tension and significant plot twists that keep the reader engaged.
The structure of the play, divided into three acts, allows for a gradual build-up
of the narrative, culminating in a powerful and thought-provoking conclusion.
Dhruvasvāminī
explores several key themes, including women’s liberation, identity, and the
complexities of love, duty, and sacrifice. These themes are conveyed through
the characters’ struggles and the societal norms they navigate. The depth and
complexity of these themes are profound, reflecting real-world issues and the
human experience. Prasad’s ability to present these themes in a meaningful and
thought-provoking manner is commendable. The play’s historical context adds
another layer of richness, providing insights into the cultural and societal
backdrop of the Gupta Empire.
The title Dhruvasvāminī interestingly encapsulates
the essence of the book, offering a blend of poetic and symbolic depth. The
term "Dhruvasvāminī" itself, which translates to "the mistress
of the steadfast," suggests a character of unwavering strength and
permanence. This typographical choice not only enhances the visual appeal of
the title but also mirrors the thematic elements of stability and continuity in
the narrative. Overall, the title serves as both a direct reference to the
central character and a subtle nod to the book’s exploration of enduring
qualities, making it a fitting introduction to the work’s thematic
underpinnings.
Savita Kiran’s translation retains the high stylistic
register of Prasad’s original work, preserving its poetic and dramatic essence.
The language is rich and evocative, with descriptive elements that bring the
historical setting to life. The overall tone is serious and reflective,
befitting the play’s themes and narrative. The characters are well-developed,
with Dhruvasvāminī standing out as a strong and relatable protagonist. Her
motivations, flaws, and growth are portrayed with authenticity, making her
journey compelling and inspiring. The supporting characters, including Komā,
add depth to the narrative, each contributing to the exploration of the play’s
central themes.
The translation of Dhruvasvāminī is notably
skilful, preserving the original’s rich texture and depth. Kiran’s decision to
retain significant Hindi and Sanskrit terms, such as "Devī,"
"Mahādevī," and "Chhinmastā," adds a layer of cultural
authenticity and complexity to the text. The inclusion of footnotes provides
clear explanations for these terms, ensuring that non-Hindi speakers can grasp
the cultural and spiritual nuances without compromising the integrity of the
original work. This thoughtful approach not only maintains the linguistic
richness of the source material but also allows readers to fully engage with
the historical and spiritual dimensions of the narrative, thereby enriching
their overall reading experience.
Published by Shwetawarna Prakashan, New Delhi, in 2021, Dhruvasvāminī
features an attractive cover that aligns with the subject matter and captures
the reader’s interest at first glance. The size of the book is convenient to
handle, and the paper quality is good. The font size is comfortable for
reading, and it does not strain the eyes, enhancing the overall reading
experience. The cover design is visually striking, featuring Dhruvasvāminī
adorned in traditional attire, holding a dharmadand or sengol, a symbol of
justice and righteous rule in Indian culture. The dharmadand represents the moral
and ethical authority of a ruler, emphasizing the importance of dharma
(righteousness) in governance. This powerful imagery conveys Dhruvasvāminī’s
strength and resilience. The background showcases architectural elements
reminiscent of the Gupta period, grounding the reader in the historical
setting. The use of earthy tones and detailed illustrations adds to the book’s
appeal, making it an attractive addition to any bookshelf.
Dhruvasvāminī is a
powerful and thought-provoking play that offers a rich exploration of women’s
roles and rights in Indian society. Its strengths lie in its compelling
narrative, well-developed characters, and the seamless translation that
preserves the essence of Prasad’s original work. While the play’s historical
and cultural context may require some background knowledge, the comprehensive
footnotes and annotations provided in the translation make it accessible to a
broader audience. I highly recommend this book to literature enthusiasts,
academics, and theatre practitioners, as well as anyone interested in
historical dramas and themes of women’s empowerment.