PARTUNI YE GHANASHYAM

ARRIVING RUNNING, HE EXTENDED HIS HAND TO PULL OUT THE ARROW FROM THE LEG.
KRISHNA RAISED HIS HAND IN OBJECTION…
JARAA SAID, “WHY? O LORD, WHY?”
“LET IT BE BROTHER..! DO NOT ATTEMPT TO MAKE MOTHER GAANDHAARI’S WORDS GO IN VAIN..!” KRISHNA REPLIED IN A VERY STEADY TONE.
“I HAVE COMMITTED A GREAT SIN. PLEASE FORGIVE ME, O LORD..! THINKING THAT YOU WERE A JUNGLE ANIMAL….I…. SHOT AT ARROW AT YOU. JARAA STARTED MOANING IN A PITEOUS VOICE.
“GET UP, SON..!” KRISHNA SAID. “WHAT IS YOUR NAME?”
“MY…MY..NAME IS JARAA..!”
“JARAA..! OK..!” YOUR NAME IS ALSO SIGNIFICANT, SON..! JARAA MEANS OLD AGE, NEVER EVER LEAVES ANYONE..! YOU ARE MERELY AN INSTRUMENT, SON..!”
THERE IS NO SUCH INDIAN LANGUAGE IN WHICH, POETRY, STORY, NOVEL, DRAMA, REFERENCE-BOOK AND SUCH OTHER HISTORY HAS NOT BEEN CREATED—KEEPING KRISHNA AS THE CENTRE-POINT. THE NOVEL “SHYAM FIR EK BAAR TUM MIL JAATE” (ORIGINAL GUJARATI) IS AN UPANISHADIC NOVEL.
DURING THE PREVAILING ARYAVART, KRISHNA WAS AN IMPOSING-PERSONAGE. WHEN THIS PERSONAGE DISSOLVED IN THE DEADLY SILENCE THAT HAD OVERCAST, THIS IS A WRITTEN DISPLAY OF THE SHRIEK OF ‘THAT-SILENCE’. WHEN KRISHNA WAS IN FRONT IT WAS A DIFFERENT MATTER. THIS NOVEL TAKES THE CONFUSED STATE OF MIND OF THE CHARACTERS—BEGINNING WITH VASUDEV DEVAKI, AKROOR, UDDHAV, AND RADHA— UPTO AN UNPRECEDENTED HEIGHT, WHEN KRISHNA DISSOLVED.