By S Datta

The Mauryan emperor Debanampriya Ashoka (273-232 B.C.) lives on in Indian history as the icon and embodiment of Tathagata Buddha's message of universal love and humanitarian ideals. The annals of Indian history which followed Ashoka's demise has been replete with bloodshed and genocide of a colossal scale, unmatched by the history of any other nation. This prompted Will Durant ,celebrated historian , to pen in his 'History of civilizations-our oriental heritage ' that 'the Mohammedan conquest of India is the bloodiest story in history, a discouraging tale .It's evident moral is that the delicate fabric of a civilization ,its order of peace and stability may be overthrown by barbarians invading from without or multiplying within '. No elaboration is required to remind the present-day humans of the threat of senseless violence which ends lives every moment-in the name of ideologies,religious or otherwise. The alter-ego of Debanampriya Ashoka- his primodial self ,historically known as 'Chandashoka' because of a propensity for horrendous brutalities in his early youth as a means of consolidating power in the Mauryan empire through fratricide, continues to haunt human societies even now in the form of organised terrorism ,'jihad' or fundamentalist fantasies. This eternal theme of the perennial human conflict between the forces of good and evil has been immortalised in "Uttar Priyadarshi"-a drama hailed as 'path-breaking in the widest possible extent of its appeal ' by 'Newyork Times'- by Manipur's Ratan Thiyam. Already an established icon of Indian theatre, Ratan Thiyam who stormed the international arena of the most ancient art form with such innovative productions as 'Uru Bhangam', 'Chakrabyuha' and 'Karnabharam' under the banner of his Imphal-based 'Chorus Repertoire Theatre' has sought to convey a message to the viewers-Buddha's message of universal love and humanity. The play was staged to a spell-bound audience in Agartala's Rabindra Bhawan on Janaury 22 ,last day of the weeklong 'Chandan Sengupta memorial drama festival'. The Mauryan emperor 'Chandashoka' went through a process of psychological metamorphosis to emerge as 'Debanampriya Priyadarshi' in the wake of the genocide of Kalinga war (261 B.C.). The healing touch and the ennobling ideals of Tathagata Buddha lucidly expounded by ascetic monks of the order helped Ashoka in his spiritual transformation . But the monks themselves faltered when they had to confront Ashoka's alter-ego--concept of violence and mayhem as a legitimate weapon, destabilising effects of consumerism and the break-down of the settled order. Presented through brilliant stagecraft, the guillotine, gallows ,toruture cells and robotic figures stalking the stage and gleefully perpetrating violence of the worst forms symbolised the the continuation of the historical conflict between the mindsets of 'Chandashoka' and his later transformed self 'Dharmashoka'. The note of optimism for the violence-marred world was conveyed through the final triumph of Lord Buddha's message espoused by alter-ego of Ashoka's grieving self. Premiered way back in 1996 in an auditorium in Bangkok as part of the India festival ,'Uttar priyadarshi' in all its sophistication of the dramatic nuances and form also appears to be Maestro Ratan Thiyam's commentary on the state of affairs in his home state, Manipur.The maestro himself commented on his creation : this is part of my humble effort to focus on the threat of violence and war and the message sought to be conveyed is 'non-violence and universal love'. Nothing could be closer to truth in regard to 'Uttar Priyadarshi'.