Sairandhri by Vinod Joshi

  Sairandhri by Vinod Joshi

On January 7th, we had the privilege of hearing Sairandhri Prabandh Kavya from Vinod Joshi sir. Vinod Joshi is a versatile Gujarati poet of the postmodern era, a popular critic and a well-acclaimed writer. Poet Vinod Joshi's contribution is the field of Gujarati Literature conferred him many awards. 

"કવિ વિનોદ જોશી એટલે લોકબોલી અને શિષ્ટ ભાષા ના સુયોગ એમને ગણ્યે ગણાય નહીં અને વિણ્યા વિણાય નહીં એટલા તો સન્માન અને પારિતોષિક મળ્યા છે.”-

- Jelam Hardik

In our study of tradition and individual talent, Eliot mentions that a poet should act as a catalyst, akin to platinum in the formulation of sulfuric acid. This suggests that a poet must depersonalize themselves from their work. Vinod sir mentioned that with every reading, he felt the emotions of the work, yet he detached himself as Bhavak from it.

In the introduction, it was mentioned that there exist three distinct worlds: the first being our own unrestricted world, the second being the behavioral world where our typical conduct exists, and the story of Sairandhri originates from this unrestricted world. It delves into the quest for identity, where Sairandhri experiences a sense of loss amidst the search for her true self. Vinod Joshi incorporated Sigmund Freud's concept of dreams into the narrative.

Additionally, Vinod sir shared his struggles in crafting this piece, initially attempting it in Vrutbadhdh Chandas, then in Natak form, and finally culminating in the Chopai And Duha style, drawing inspiration from the Sundarkand. This evolution in writing style reflects his journey and creative process in shaping the narrative.

Sairandhri is a metrical poem composed in prabandha form with seven cantos, 49 chapters, and 1800 lines, written by Vinod Joshi in Melbourne, Australia and published in 2018. The poem is based on Virat Parva of Mahabharata. This is a composition of a woman who has not only lost her original identity but also likes to dwell in her fostered identity. It unfolds over a day and a half, following Sairandhri as she moves through three worlds simultaneously: the realm of memories (Smriti Lok), the world of dreams (Swapna Lok), and the realm of imagination (Kalpana Lok).

"Sairandhri" by poet Vinod Joshi is an exciting attempt to connect old and new literature. It tells an old story in a completely different way. The author himself says,

'મારી સૈરન્ધ્રી મહાભારતકારથી જુદી છે'

 This story shows a modern perspective of a woman who has a strong sense of self. It's about a woman's feelings and emotions, starting with words honoring Saraswati.

Sarg 1 : 

 The story begins by describing Sairandhri with lines like:

વિવશ સાંજ, નભ નિરાલંબ,

નિસ્પંદ સમીર નિગૂઢ,

એક યૌવના નતમુખ ઊભી,

વ્યગ્રચિત્ત સંમૂઢ.

-Vinod Joshi

The poet's Sairandhri isn't the same as Draupadi from the epic "Mahabharat." Instead, she's a woman who hides her true identity and lives with a secret name. The poet wants us to see that everyone hides a part of themselves in life. In this text, Sairandhri is called by different names like Draupadi, Krushanaa, Mahabharti in Vyasa's 'Mahabharat', but this story focuses on different names such as Panchali, Yagnaseni, Drupadkanya, and more.

In this canto, Sairandhri grapples with the complexity of her true identity, torn between being Sudeshna's servant, Drupad's daughter, or Pandav's wife. The presence of Bruhannala, Arjuna in disguise, stirs jealousy within her. It marks the first time she regrets refusing Karna for the Matsyavedh.

Amidst having five husbands, she feels an overwhelming sense of inferiority, burdened by ambiguity and alienation. This inner conflict leads her to question herself deeply. Her struggle mirrors the technique of stream of consciousness, delving directly into her mind and the turmoil within.

Sarg 2 :

In this canto, she delves into her mind through a dream, transported directly to the Swayamvar. There, she finds Karna captivating and decides to marry him, exercising her free will in choosing him. However, Dhristadyumna questions Karna's caste, referring to him as "Sutputra Kuntino Jayo," showcasing the poet's skillful use of words to portray irony.

The narrative then shifts to describe Karna's upbringing, from Kunti abandoning him to his fostering by Adhiratha and his friendship with Duryodhana. In the present context, Dhristadyumna remarks that only those from a specific lineage, "Kul," are welcome for the competition, employing dramatic irony regarding Arjun by saying, "Sutputrno Anuj Hato Chata Ganayo Kulin."After her marriage to Arjun, they visit Kunti, and Arjun addresses Sairandhri as a precious thing. As a result, she becomes divided among her five husbands.

Sarg 3 :

This canto openly addresses Sairandhri's physical attraction to Kichak and her internal struggle to remain true to herself. Through Sairandhri's story, the poet seems to uncover the hidden lives of everyone. This represents the feelings and true personality behind a common woman. The text is like a mask covering a beautiful prism, reflecting various shades of colors.

Sarg 4 : 

She swings like a pendulum between confusion regarding Arjun and Kichak. Unconsciously, she compares them, torn between her traditional role as a wife and her modern role as a woman. Yet again, the poet employs elements of dreams to illustrate her exercising free will. In her dream, when Kichak attacks her, Karna appears and fights back against Kichak, causing her dream to shatter.

Sarg 5 : 

In this canto, there's a knock on the door, prompting her to wonder about its source. As she ponders, her thoughts swiftly shift, moving away from her contemplation of Karna, Arjun, and Kichak. However, when Kichak tries to attack her once more, she empowers herself and decides to fight back. This time, she displays confidence, showing no hesitation, and ultimately kills him, turning herself into a murderer.

Sarg 6 :

Unlike Vyasa’s “Mahabharata,” the most significant change is when Sairandhri defeats Keechak herself, without seeking her husbands' help. Vinod Joshi's Sairandhri is a modern woman from Australia, raising her voice against violence and injustice. She's not portrayed as a typical woman with stereotypical thinking. Her initiative to stand alone and handle situations like any man showcases women's independence in society. In this canto, she is proven to be a murderer, yet there is serenity within her mind.

કીચક માર્યો એક, પણ કીચક હજી અનેક,

ઇચ્છે નહિ નારી, છતાં વિવશ કરે જે છેક. 

The above mentioned words says that 'there are several Keechak (villains) in society, thought a woman does not wish to harm any but are forced to take serious actions towards such nuisance either legally or illegally'.  Once again, there's a flashback to Dhutshabha, where she was used as part of the gambling. The pivotal change occurs when Karna defends Sairandhri, breaking his friendship with Duryodhana. As she reflects on this, she gradually starts understanding her true identity. Her journey to Virat's Shabha symbolizes her walk in search of identity.

Sarg 7 :

In the last canto, she is in the Shabha, fearless, observing her husbands whose only concern is the fear of their identities being revealed, leading to another exile. She feels as if she's once again in Dhrutrashtra's Shabha. She's on the verge of searching for her identity and is punished by being burned at the stake. Nevertheless, she tries to recreate scenes in her mind, starting with Matsyavedh, where no one questions anyone's lineage or origins. She marries Karna, exercising her free will.

While contemplating this, she surrenders herself to the fire, from where she was born, and finds Karna alongside her as her soul. This is how, through her death, she discovers her identity. The poet took creative liberties in crafting his work. Furthermore, he expresses that his intention in using the Mahabharata story is to enhance and make his work more appealing and acceptable.

Listening to Poet Vinod Joshi Sir narrate this Prabandh Kavya was an incredible experience. He recited the entire poetry in 2 and a half hours, infusing it with expressions and nuances that vividly brought the poetry to life. His ability to evoke visual imagery through his tonality makes this work a true classic, undoubtedly deserving of the Sahitya Akadmi Award. 

Thank you.