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Mrigavati—A Drama on a Queen’s Emancipation

By Paresh Chandra Dasgupta

Vol. 13 · No. 1July - 1978pp. 39-42English

Summary

The reviewed play dramatizes the legendary story of Queen Mṛgāvatī, celebrated in Jain literature for her courage and piety. As the consort of King Śatānīka of Kauśāmbī, Mṛgāvatī faces a dilemma when the rival King Candrapadyota threatens war unless she is surrendered to him. Rather than allow her people to be slaughtered, she voluntarily accompanies the enemy king, thereby averting bloodshed. Her act reflects the Jain principle of ahiṃsā and underscores the capacity of individuals—especially women—to make moral choices that prioritise life over honour. The play traces Mṛgāvatī’s journey from queen to ascetic. Having fulfilled her duties as wife and mother, she encounters Mahāvīra and is inspired by his teachings on non‑violence and renunciation. She eventually takes dīkṣā (monastic initiation) and adopts the disciplined life of a nun. Jain monasticism teaches that ascetics are detached from worldly activities and follow established guidelines for daily worship and austerityhttps://en.wikipedia.org/wiki/Jain_monasticism#:~:text=nirvana%20%20ascetics%20organized%20themselves,162; the play depicts Mṛgāvatī embracing these practices with determination. Dialogues between the queen and monks illustrate the internal struggle between attachment and liberation. The reviewer praises the playwright’s ability to combine historical legend with ethical instruction. Scenes of court intrigue, conversations about karma and reincarnation, and vivid descriptions of ritual fasts engage readers while imparting doctrinal lessons. The drama also challenges patriarchal assumptions. By choosing non‑violence and later renunciation, Mṛgāvatī asserts agency and demonstrates that women, too, can attain spiritual emancipation. The article notes that the language is accessible, the moral lessons are clear, and the characterisation of Mṛgāvatī resonates with modern audiences. Overall, the play serves both as entertainment and as a vehicle for disseminating Jain values. It encourages reflection on the power of compassion, the possibility of redemption and the importance of personal responsibility in preventing violence. The reviewer concludes that the story remains timeless because it illustrates how self‑sacrifice and spiritual resolve can transform lives.

Conclusion

The drama of Mṛgāvatī offers a moving portrayal of a queen who rejects war and embraces asceticism. By highlighting her ethical choices and eventual liberation, the play underscores Jainism’s message that true power lies in compassion and self‑discipline. The reviewer concludes that this narrative continues to inspire because it affirms the spiritual potential of women and demonstrates that non‑violence and renunciation are paths to emancipation.

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