Another good effort by the CVs. There is definitely a lot to ponder over if we don't get too affected by a a few idiosyncrasies and bloopers. I am not able to quote much from whatever you have written because I type from my phone and it is the most inconvenient device for capturing the speed and flow of what you want to convey. Aunty I hope you wouldn't mind if I do not make actual references to your post. Most of my arguments and discussions are actually extensions of your post. Aunty I really feel honored that you made a reference to my post in your analysis of this episode. Thank you.
I too feel a helpless and impotent rage when I watch scenes of domestic abuse on TV. But it becomes even more intolerable when the victim of that abuse is a small kid. I wanted to just break that TV screen and start serving the juiciest whiplashes to this man. But I was glad that though nobody gave him such treatment, Chandra did it with his cutting words which almost seemed to land on this man's psyche even more powerfully than any whiplash could ever do on one's corporeal body. I could almost feel the man wincing internally in such great pain at every word despite his drunken and body numbing stupor. It is another things that he chooses to brush it off.
But the person who was really found wanting in this scene was again the foster mother. She should have been Chandra's shield from her husband but it is working the other way round. It is her little,skinny, malnourished child who had grown up beyond his years and is trying his best to shield her. Why does this woman think that her obnoxious husband is going to listen to her pleas or entreaties. He is beyond that. She fails to understand what little Chandra has understood for his small years that you don't plead for the small mercies against a patent and chronic abuser. You fight back. If you fail, you give them the courage to walk over you with impunity.
Chandra raises another valid point too. Is she going to say she is staying with her husband for his sake. This is an excuse given by most wives in abusive marriages. They say we are sticking on to this marriage for our children and their future. He says if that is the case then I will better leave you so that you are spared this misery. What kind of a toxic atmosphere was this blighted female creating for the very son whom she professes to love! I am happy that Chanakya is soon going to be in picture and Chandra will have the right kind of upbringing, training and guidance he deserves.
I know that this Devaki and Yashoda parallel is being driven into our heads with regard to Mura and this foster mother. By the way, what is the name of the second abla nari pativrata siromami the first of course being our own Mother India Mura? I didn't get her name. Did anybody come across it? I really wouldn't mind Chanakya being Mata, Pita, Guru, and Deivam to Chandra. These two are a bunch of utterly incompetent mothers, to boot all this we have an absentee father and a blot in the name of fatherhood as Chandra's so called parents. Another small insignificant doubt at this point. How did the foster mother also give Chandragupt the same name Chandra when she found him? Did Mata Mura send a Reiki to her?
I don't wish to waste very many words on the made for each other couple Nand and Avantika. They are getting what they sowed. Avantika had got her full quota of Nemesis and Nand is yet to receive her in all her full glory. But she is slowly inching towards him. It is another thing that he chooses to brush it off as he does in his scene earlier with Mura and now with Avantika. He utters some pure bombastic words like I rule time or something of that sort. But he is definitely unnerved. He senses that his retribution is awaiting him but he does not know from which direction and how.
I do not read much into Nandini's reaction towards Mura for her vituperative tirade against Nand. Why will she even believe or support her over her own father who is her hero and idol? She throws mud on the name which Mura wants to associate with her father's destruction. Her reaction is similar to Plato's description of the chained prisoners in an underground cell who shut their eyes when they are suddenly released into bright sunlight in The Republic. She is not ready to see light. But the pity is that she will be forced to see it even though she is not willing to see. All this reality is going to be rudely thrust on her one fine day and she will also not be in a position to handle this situation.
Tragedy in a true sense comes when we find a person placed in a position with which he cannot deal. The right people in the wrong place. Here we have a slight, fragile and dainty princess who has not care in the world. She believes that the world functions according to her whims and fancies. She has led a pampered and sheltered existence. She would not even know what it is to feel disappointment, and when you find all that disappointment and loss lined up her way in future just because of her parents' folly , you really can't help sympathizing with her.
Similarly I can identify with Mura's sly self satisfaction that her words are actually coming true and Nand is going to receive his due punishment by seeing his daughter suffer. Though she is a bit vindictive in wanting all that to happen to a little girl, what else can you expect even from a good human being like Mura for that betrayal from her friend, her husband's cruel death before her own eyes, her separation from her new born son, and her long years of incarceration and insult but the feeling of revenge.
I personally know some very good people who would throw mud on their enemies and wish for the extinction of not just their tormentor but his entire race for lesser follies than what Nand and Avantika have done to her and her family. She obviously sees Nandini as some kind of unavoidable collateral damage. She is determined to not think about that aspect at all. Because if she starts putting herself in Nandini's shoes, her whole grand schemes of revenge against Nand are going to fall flat on her face. So she wisely and deliberately chooses to ignore that aspect.
I actually have nothing much to add to your views on the Chandragupt scene in the forest with Amatya Rakshas than what you have already discussed. It was a powerful scene and well written scene. It added another feather to Chandra as a character.
Sikandar's penchant to capture 'the golden bird' that is India and his overconfidence that nobody can stop him are directly followed up by the introductory scene of Chanakya implying that there is actually somebody already in existence and at work to stop him and his designs. It was a brilliant bit of editing.
Chanakya's portrayal was very inspiring and apt per se if we do not compare with earlier versions of Chanakya or the earlier roles played by the same actor. He has done a good job and will only get better as time passes. He will grow into the role and get into the skin of the character.
I was full of admiration at the way Chanakya played with the psyche of the drunkard. He just told him that he was suffering from small pox or plague or some such dreadly disease and the man who was at his throat one moment was near his feet the next moment. But I see a blind spot even in Chanakya at this point. His immense self- belief that he can carry off anything with the help of his buddhi and that knowledge is the most important thing. I am waiting to see how he gets the epiphany that bal along with buddhi is important.
This whole sequence reminds me of a old, and Classic Tamil movie of Sivaji Ganesan 'Saraswati Sabadam' and the very famous song in it 'Kalviya? Selvama? Veerama?' which can be simply translated as 'Knowledge? Wealth? Strength? Which one is most important?' I am waiting to see how Chanakya comes to this paradigmatic shift that both bal and buddhi are needed and go hand in hand. Since both Chandra and Chanakya have similar aims, their paths are ultimately meant to cross each other. I am waiting for the first meeting of Chanakya and Chandra in Patliputra.
Edited by shailusri1983 - 8 years ago
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