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Collection: Part 10 · VIDEHA MITHILA MAITHILI DISCUSSION CRITICISM SERIES PART 10
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0:00–0:30अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अ
0:30–0:38recitation, the pounding of soma, and the solemn voices of the brahmodya assembly.
0:38–0:44Scene 1. A girl and a boy stand amid the mango grove. Leaves rustle, water can be heard
0:44–0:50in the distance. The girl holds leaves and writing practice materials, she is already
0:50–0:52inquisitive.
0:52–0:59My name is Apala. I am Rishi, a threes daughter. Who are you, young Rishi? Are your eyes
0:59–1:08searching for letters or for a bow. I have come to study. Where is wishy atree?
1:08–1:14He has gone towards the pool to bathe. He should be back at any moment.
1:14–1:20Maharishi Atree enters, carrying a water pot in his right hand and bark cloth in his
1:20–1:26left. Daughter, who is this boy who has come here?
1:26–1:33Rishi, the number of residents in the Hermitage is about to increase by one. This boy has come to study.
1:35–1:42No. My initiation has not yet taken place. For now, I have come as a manavaka to study under the
1:42–1:49teacher. See the staff in my hand. As a dandamanavaka, I shall come each day from my village and
1:49–1:55return in the evening. I am an anrich, unacquainted with Vedic mantras, but I hunger to learn.
1:56–2:02very well. Then you shall become known as my tuple.
2:02–2:09The first part of the day is reserved for training in the use of weapons. You must remember
2:09–2:17every mantra I teach you. Later, I shall take you with me and arrange your formal initiation.
2:17–2:24Here, girls and boys alike have the right to ask questions. A question is the first
2:24–2:28step towards knowledge.
2:28–2:31I bow at the feet of the wise teacher.
2:31–2:34Curtain.
2:34–2:35Scene 2.
2:35–2:39The final stage of the initiation ceremony.
2:39–2:44Apala and several other young students, girls and boys have undergone initiation.
2:44–2:51Fire glows on the altar, soft sama chanting rises, the students sit in deep concentration.
2:51–2:56Apala, your true education now begins.
2:56–3:02Marriage is not merely memory, it is also a lamp within.
3:02–3:05He turns to the other students.
3:05–3:09All of you must regularly recite the Savitri Mantra.
3:09–3:16Om Bhur Bhuvah Swar, Tart Savitur Varenyam, Bhargo Devasya Dhimahi, Dio Yona Prachodya.
3:16–3:23Savita, the inspirer of all, possesses the venerable radiance beloved by all, spread
3:23–3:32across the earth, the mid-region and heaven, the highest sky. We meditate upon that radiance.
3:32–3:37May it inspire our intellect and understanding.
3:37–3:43Father, what will be taught as the preliminary course before formal study, together with
3:43–3:45Om Nama Siddham?
3:45–3:54Letters, vowel sounds, measures, short, long and prolonged, accents, udatta, anudatta,
3:54–4:00and swarita, pure pronunciation, the orderly arrangement of letters, that is, spelling,
4:00–4:07the manner of reading and speaking, and the many ways of sounding the same letter.
4:07–4:11All these will form part of the instruction.
4:11–4:17Everything will be given through samasantana, that is, simple song.
4:17–4:23Revered teacher, when pronunciation is faulty, meaning changes, when vision is faulty, the
4:23–4:26human being changes.
4:26–4:30The rules of the hermitage are now explained.
4:30–4:34The creatures of the forest are not to be harmed.
4:34–4:40Fruit for food shall be gathered from the forest trees on the previous evening.
4:40–4:49Vinihotra will be performed morning and evening. For it, firewood, kusha grass, clarified butter,
4:49–4:53and milk shall be arranged collectively each day.
4:53–5:00Deer may roam freely through the hermitage. Though farming is not permitted among the
5:00–5:07Kadamba, Ashoka, Ketki, Madhuka, Vakula, and Sudhakara trees, grain that grows by
5:07–5:15itself on uncultivated land a krista pachya graham may be used. Knowledge and nature are
5:15–5:20not possessions to rule, both are to be served.
5:20–5:26Since we study in the same seat of learning, we are fellow students. Revere teacher, besides
5:26–5:30a staff and water pot, are we permitted to keep anything else?
5:30–5:37We are a waste girdle and deerskin and prepare yourselves so that you may be ready for the
5:37–5:4412 year sacrificial session and after the great sacrifice concludes take part in serious
5:44–5:51discussions at the Brahmodaya, the Vidit Council, the Upanishadic gathering and the Forest
5:51–5:52Assembly.
5:52–6:043. In the hut, Rishi Atri consults several physicians. From outside comes the faint sound
6:04–6:10of Apala's Sama practice. Inside are the worries of a father and of the physicians.
6:10–6:18Physicians, signs of a skin disease are appearing on young Apala's body. White patches
6:18–6:26resembling kushta are becoming visible. The illness is on her body, but society turns it
6:26–6:31into an accusation against the soul that is what I fear as well.
6:32–6:37For many months we have prepared various medicines for the girl to take and sells for her skin.
6:39–6:42The illness is stubborn but the girl's spirit is stronger.
6:42–6:52Apala is now approaching marriageable age. I am also seeking a worthy husband for her.
6:52–6:59But he must be a man who sees Apala's learning, not merely her skin.
6:59–7:05I have heard of Krishashiva. He possesses every virtue and is devoted to caring for
7:05–7:11his aged parents. He would be entirely suitable for our Apala.
7:11–7:13In Why delay?
7:13–7:20On an auspicious day, you should contact his parents.
7:20–7:21Scene 4.
7:21–7:25A wedding rite is underway in the mango grove of the Hermitage.
7:25–7:31An altar has been prepared, and the officiating priests offer barley and sesame into the fire.
7:31–7:36The flames are bright, but in a parlour's heart there is a faint apprehension.
7:36–7:41With the majestic lines of the Tripundra upon his forehead, a well-formed body,
7:41–7:48and humility embodied, this is Krishashva, my companion for life. Will he see the soul
7:48–7:54that shares my mantras, or only the marks upon my skin?
7:54–8:00At that moment Krishashva's eyes meet Apalas. She lowers her gaze, yet her head remains
8:00–8:04held high, preserving the dignity of womanhood.
8:04–8:10Before the assembled circle of rishis, and with the sacred fire as witness, I
8:10–8:17unite Apala and Krishash in marriage. As they circle the fire, Krishashva's upper
8:17–8:24garment slips slightly, and the jasmine garland in Apala's hair falls to the ground.
8:24–8:31Scene 5. Apala's marital home. Her elderly parents-in-law are seated while Apala works
8:31–8:37about the house. In one corner lie materials for Vedic study, she attends both to household
8:37–8:40service and to learning.
8:40–8:47Dear Kri Shashva, so many days have passed. In your home, I have never felt controlled.
8:47–8:53Your tender love towards me has always been present. Yet these white patches that burn
8:53–8:59upon me like a living presence, seem, over the past few days, to have become a coldness
8:59–9:07towards me in your heart. Sometimes the silence of a house cuts more sharply than words.
9:07–9:09My coldness, Aparla?
9:09–9:18Yes, Krishashu. I have seen the change. Does its cause lie in my skin condition?
9:18–9:26Aparla, a conflict is raging within me. It is a struggle between love and desire.
9:26–9:31tells me that Apala is a Brahma Vadini, a woman of the divine. But Desire tells me
9:31–9:37that the condition of Apala's skin has turned my eyes away from her beauty, in a version.
9:37–9:42I confess my weakness, I cannot give it the name of Dharma.
9:42–9:48This is a woman's humiliation at a man's hands. This is a man, corrupted by desire,
9:48–9:54crushing the flower of a woman's heart. I have studied the Vedas. The moon's
9:54–10:00Blemishes disappear in its radiance, but the white marks on my skin have not disappeared
10:00–10:06amid the abundance of my virtues. The marks are on my body. It is your vision that has
10:06–10:09fallen ill.
10:09–10:12Kriyashiva is stunned into silence.
10:12–10:19I will not surrender before a physically strong man. To preserve my self-respect, I am returning
10:19–10:26to my father's forest hermitage, Kriśāśvara. A house in which the soul must make itself
10:26–10:31small is not a home, it is a prison.
10:31–10:38Scene 6. At dawn, a pala offers kindling into the fire pit, and begins worship and recitation
10:38–10:45to Indra. She sits upon a kuzhāgrass seat. The air is still. The sound of soma being
10:45–10:49pounded slowly becomes the rhythm of the mantra.
10:49–10:52I found Soma beside the stream.
10:52–10:58I brought it home and said, I shall press it for Indra, for Shakra.
10:58–11:00She studies her breath.
11:00–11:06Oh Indra, this Soma is not merely medicine, it is my resolve.
11:06–11:11Wandering from house to house and beholding everything, drink this Soma from the little
11:11–11:18peg crushed by my teeth while you eat it with grain and curds, hear songs of praise.
11:18–11:24We are wholly intent upon knowing you well, yet no one has been able to attain you.
11:24–11:31O Moon, flow slowly, continuously, drop by drop, into Indra.
11:31–11:33Will He not help us?
11:33–11:36Will He not act for us?
11:36–11:39Will He not make us prosperous?
11:39–11:44After our enmity with our King, shall we now reconcile ourselves with Indra?
11:44–11:51O Indra, cause growth in three places, upon my father's head, in his field, and near my abdomen.
11:52–11:54Let all these crops grow.
11:55–11:59You have plowed our field, my body, and my father's head as well.
12:00–12:02You purified Apala.
12:03–12:09O Indra, three times, once through the opening of a wheeled cart, once through the opening of a four-wheeled cart,
12:10–12:13and once through the yoke resting upon the shoulders of two oxen.
12:14–12:20Oh Shatakratu! You cleansed Apala and gave her skin like the sun.
12:20–12:30Oh Indra! But let it be remembered, not only the skin, the vision must also be purified.
12:30–12:37Scene 7. After the completion of the Great Sacrifice, the Brahmodya Assembly. The officiating
12:37–12:42priests, students, and residents of the Hermitage sit in solemn attention.
12:42–12:48Apala is calm, the signs of illness have disappeared from her body, but in her eyes lies the depth
12:48–12:51of experience.
12:51–12:58Before this great gathering of officiating priests, I can include Apala's hymn among the mantras
12:58–13:04of the rig, because it arose spontaneously, and is consecrated by mantra.
13:04–13:11Apala's skin disease has been cured by it, here is the immediate evidence.
13:11–13:16But the proof is not merely the cure of disease.
13:16–13:21The proof is that suffering itself can become a hymn.
13:21–13:24Apala is the seer of this mantra.
13:24–13:28Atri, we too have beheld this mantra.
13:28–13:34Indeed, there can be no question whether it should be included.
13:34–13:37From this day, it is part of the rig.
13:37–13:42Apala's name shall not be separated from the mantra.
13:42–13:47After this recognition, the other proceedings of the Brahmodya assembly begin.
13:47–13:51Kri Shashva approaches Apala with a troubled heart.
13:51–13:57Apala, I am sorry, for our separation and for the narrowness of my vision.
13:57–14:04Kri Shashva, this skin bestowed by Indra is a result of spiritual discipline.
14:04–14:09Your rejection made me capable of attaining it, but you have no claim over it now.
14:09–14:16I love that abandon me when I bow marks cannot demand rights over a body without them.
14:16–14:23I am Apala Atre, not an object of anyone's pity, but the seer of my own him.
14:23–14:27They slowly leave the stage in opposite directions.
14:27–14:30The light brightens towards the altar on Apala's side.
14:30–14:33On Krishashiva's side, it fades.
14:33–14:38Wounds of the body may heal, wounds of vision are healed by learning.
14:38–14:43Apala's hymn lives, because she did not allow her suffering to remain silent.
14:43–14:45Curtain.
14:45–14:49Apala Atrei, Written by Gajendra Thokku.
14:49–14:59Presented by Videha, the first Mathili fortnightly e-journal, ISSN 2229, 547X, www.videha.co.in.

Plain text

अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अपाला अप्रेए. अ recitation, the pounding of soma, and the solemn voices of the brahmodya assembly. Scene 1. A girl and a boy stand amid the mango grove. Leaves rustle, water can be heard in the distance. The girl holds leaves and writing practice materials, she is already inquisitive. My name is Apala. I am Rishi, a threes daughter. Who are you, young Rishi? Are your eyes searching for letters or for a bow. I have come to study. Where is wishy atree? He has gone towards the pool to bathe. He should be back at any moment. Maharishi Atree enters, carrying a water pot in his right hand and bark cloth in his left. Daughter, who is this boy who has come here? Rishi, the number of residents in the Hermitage is about to increase by one. This boy has come to study. No. My initiation has not yet taken place. For now, I have come as a manavaka to study under the teacher. See the staff in my hand. As a dandamanavaka, I shall come each day from my village and return in the evening. I am an anrich, unacquainted with Vedic mantras, but I hunger to learn. very well. Then you shall become known as my tuple. The first part of the day is reserved for training in the use of weapons. You must remember every mantra I teach you. Later, I shall take you with me and arrange your formal initiation. Here, girls and boys alike have the right to ask questions. A question is the first step towards knowledge. I bow at the feet of the wise teacher. Curtain. Scene 2. The final stage of the initiation ceremony. Apala and several other young students, girls and boys have undergone initiation. Fire glows on the altar, soft sama chanting rises, the students sit in deep concentration. Apala, your true education now begins. Marriage is not merely memory, it is also a lamp within. He turns to the other students. All of you must regularly recite the Savitri Mantra. Om Bhur Bhuvah Swar, Tart Savitur Varenyam, Bhargo Devasya Dhimahi, Dio Yona Prachodya. Savita, the inspirer of all, possesses the venerable radiance beloved by all, spread across the earth, the mid-region and heaven, the highest sky. We meditate upon that radiance. May it inspire our intellect and understanding. Father, what will be taught as the preliminary course before formal study, together with Om Nama Siddham? Letters, vowel sounds, measures, short, long and prolonged, accents, udatta, anudatta, and swarita, pure pronunciation, the orderly arrangement of letters, that is, spelling, the manner of reading and speaking, and the many ways of sounding the same letter. All these will form part of the instruction. Everything will be given through samasantana, that is, simple song. Revered teacher, when pronunciation is faulty, meaning changes, when vision is faulty, the human being changes. The rules of the hermitage are now explained. The creatures of the forest are not to be harmed. Fruit for food shall be gathered from the forest trees on the previous evening. Vinihotra will be performed morning and evening. For it, firewood, kusha grass, clarified butter, and milk shall be arranged collectively each day. Deer may roam freely through the hermitage. Though farming is not permitted among the Kadamba, Ashoka, Ketki, Madhuka, Vakula, and Sudhakara trees, grain that grows by itself on uncultivated land a krista pachya graham may be used. Knowledge and nature are not possessions to rule, both are to be served. Since we study in the same seat of learning, we are fellow students. Revere teacher, besides a staff and water pot, are we permitted to keep anything else? We are a waste girdle and deerskin and prepare yourselves so that you may be ready for the 12 year sacrificial session and after the great sacrifice concludes take part in serious discussions at the Brahmodaya, the Vidit Council, the Upanishadic gathering and the Forest Assembly. 3. In the hut, Rishi Atri consults several physicians. From outside comes the faint sound of Apala's Sama practice. Inside are the worries of a father and of the physicians. Physicians, signs of a skin disease are appearing on young Apala's body. White patches resembling kushta are becoming visible. The illness is on her body, but society turns it into an accusation against the soul that is what I fear as well. For many months we have prepared various medicines for the girl to take and sells for her skin. The illness is stubborn but the girl's spirit is stronger. Apala is now approaching marriageable age. I am also seeking a worthy husband for her. But he must be a man who sees Apala's learning, not merely her skin. I have heard of Krishashiva. He possesses every virtue and is devoted to caring for his aged parents. He would be entirely suitable for our Apala. In Why delay? On an auspicious day, you should contact his parents. Scene 4. A wedding rite is underway in the mango grove of the Hermitage. An altar has been prepared, and the officiating priests offer barley and sesame into the fire. The flames are bright, but in a parlour's heart there is a faint apprehension. With the majestic lines of the Tripundra upon his forehead, a well-formed body, and humility embodied, this is Krishashva, my companion for life. Will he see the soul that shares my mantras, or only the marks upon my skin? At that moment Krishashva's eyes meet Apalas. She lowers her gaze, yet her head remains held high, preserving the dignity of womanhood. Before the assembled circle of rishis, and with the sacred fire as witness, I unite Apala and Krishash in marriage. As they circle the fire, Krishashva's upper garment slips slightly, and the jasmine garland in Apala's hair falls to the ground. Scene 5. Apala's marital home. Her elderly parents-in-law are seated while Apala works about the house. In one corner lie materials for Vedic study, she attends both to household service and to learning. Dear Kri Shashva, so many days have passed. In your home, I have never felt controlled. Your tender love towards me has always been present. Yet these white patches that burn upon me like a living presence, seem, over the past few days, to have become a coldness towards me in your heart. Sometimes the silence of a house cuts more sharply than words. My coldness, Aparla? Yes, Krishashu. I have seen the change. Does its cause lie in my skin condition? Aparla, a conflict is raging within me. It is a struggle between love and desire. tells me that Apala is a Brahma Vadini, a woman of the divine. But Desire tells me that the condition of Apala's skin has turned my eyes away from her beauty, in a version. I confess my weakness, I cannot give it the name of Dharma. This is a woman's humiliation at a man's hands. This is a man, corrupted by desire, crushing the flower of a woman's heart. I have studied the Vedas. The moon's Blemishes disappear in its radiance, but the white marks on my skin have not disappeared amid the abundance of my virtues. The marks are on my body. It is your vision that has fallen ill. Kriyashiva is stunned into silence. I will not surrender before a physically strong man. To preserve my self-respect, I am returning to my father's forest hermitage, Kriśāśvara. A house in which the soul must make itself small is not a home, it is a prison. Scene 6. At dawn, a pala offers kindling into the fire pit, and begins worship and recitation to Indra. She sits upon a kuzhāgrass seat. The air is still. The sound of soma being pounded slowly becomes the rhythm of the mantra. I found Soma beside the stream. I brought it home and said, I shall press it for Indra, for Shakra. She studies her breath. Oh Indra, this Soma is not merely medicine, it is my resolve. Wandering from house to house and beholding everything, drink this Soma from the little peg crushed by my teeth while you eat it with grain and curds, hear songs of praise. We are wholly intent upon knowing you well, yet no one has been able to attain you. O Moon, flow slowly, continuously, drop by drop, into Indra. Will He not help us? Will He not act for us? Will He not make us prosperous? After our enmity with our King, shall we now reconcile ourselves with Indra? O Indra, cause growth in three places, upon my father's head, in his field, and near my abdomen. Let all these crops grow. You have plowed our field, my body, and my father's head as well. You purified Apala. O Indra, three times, once through the opening of a wheeled cart, once through the opening of a four-wheeled cart, and once through the yoke resting upon the shoulders of two oxen. Oh Shatakratu! You cleansed Apala and gave her skin like the sun. Oh Indra! But let it be remembered, not only the skin, the vision must also be purified. Scene 7. After the completion of the Great Sacrifice, the Brahmodya Assembly. The officiating priests, students, and residents of the Hermitage sit in solemn attention. Apala is calm, the signs of illness have disappeared from her body, but in her eyes lies the depth of experience. Before this great gathering of officiating priests, I can include Apala's hymn among the mantras of the rig, because it arose spontaneously, and is consecrated by mantra. Apala's skin disease has been cured by it, here is the immediate evidence. But the proof is not merely the cure of disease. The proof is that suffering itself can become a hymn. Apala is the seer of this mantra. Atri, we too have beheld this mantra. Indeed, there can be no question whether it should be included. From this day, it is part of the rig. Apala's name shall not be separated from the mantra. After this recognition, the other proceedings of the Brahmodya assembly begin. Kri Shashva approaches Apala with a troubled heart. Apala, I am sorry, for our separation and for the narrowness of my vision. Kri Shashva, this skin bestowed by Indra is a result of spiritual discipline. Your rejection made me capable of attaining it, but you have no claim over it now. I love that abandon me when I bow marks cannot demand rights over a body without them. I am Apala Atre, not an object of anyone's pity, but the seer of my own him. They slowly leave the stage in opposite directions. The light brightens towards the altar on Apala's side. On Krishashiva's side, it fades. Wounds of the body may heal, wounds of vision are healed by learning. Apala's hymn lives, because she did not allow her suffering to remain silent. Curtain. Apala Atrei, Written by Gajendra Thokku. Presented by Videha, the first Mathili fortnightly e-journal, ISSN 2229, 547X, www.videha.co.in.

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