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कितनी सारी देवियां, कितनी सारी स्त्रियां, कितनी सारी कथाएं

भारत में देवी के मिथक को समझने के लिहाज से, देवी के अलग रूपों को समझने के लिहाज से देवदत्त पट्टनायक की पुस्तक ‘भारत में देवी अनंत नारीत्व के पांच स्वरूप’ बहुत उपयोगी है. मूल अंग्रेजी में लिखी गई इस किताब के हिंदी अनुवाद की बहुत अच्छी समीक्षा जाने-माने लेखक प्रियदर्शन जी ने ‘पुस्तक वार्ता’ नामक पत्रिका में की थी. अब वह पत्रिका जल्दी मिलती तो है नहीं इसलिए आप भी पढ़िए एक अच्छी किताब की बहुत अच्छी समीक्षा. लगे हाथ यह  भी बता दूं कि राजपाल एंड संज से प्रकाशित इस पुस्तक का अनुवाद मैंने ही किया है- मॉडरेटर

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मिथकों की दुनिया बहुत जटिल होती है। वे किसी समाज की स्मृतियों, कल्पनाओं और उसके स्वप्नों के साझा रसायन से बनते हैं और समय की आंच पर पकते-पकते ऐसी ठोस शक्ल ले लेते हैं कि बिल्कुल सच जान पड़ते हैं। यह शायद आस्था है जो उनको ऐसी विश्वसनीयता प्रदान करती है कि हम उनके आगे देखने को तैयार नहीं होते। मगर आस्था का काम कुछ सरलीकृत व्याख्याओं और बने-बनाए निष्कर्षों से भले चल जाए, मिथकों में निहित व्याख्याबहुलता की संभावना वह चीज है जो कई बार आस्थाओं को भी प्रश्नांकित करती है और कई बार समाज के अवचेतन में बसे सपनों, संदेहों और उसकी कल्पनाओं का भी सुराग देती है। इस क्रम में कई बार यह भी होता है कि आस्था पलट कर मिथकों की व्याख्या पर वार करती और पूरी आक्रामकता से उसे खारिज करती है।

देवदत्त पट्टनायक की किताब ‘भारत में देवी अनंत नारीत्व के पांच स्वरूप’  मिथक और आस्था के द्वंद्व के बीच, विश्वास और व्याख्या के टकराव के बीच उन कथाओं की तलाश का काम करती है जिनसे हमारी देवियां बनी हैं, हमारी स्त्री छवियां बनी हैं। चाहें तो याद कर सकते हैं कि हमारे यहां 4000 साल से तरह-तरह की देवियां पूजी जाती हैं। किसी भी इलाके के किसी भी गांव में किसी देवी या माता का मंदिर ज़रूर मिल जाता है। लेकिन यह विराट और समृद्ध परंपरा चंद जानी-पहचानी देवीमालाओं से नहीं, उसकी अनंत छवियों और उनसे जुड़ी कथाओं से बनती है। इन सारी कथाओं के स्रोत हमारी पौराणिक विरासत में हैं- रामायण, महाभारत, गीता, दूसरे पुराणों, उपनिषदों में, कालक्रम में विकसित हुए उनके अलग-अलग संस्करणों और रूपों में, और साथ लोक और आदिवासी स्मृतियों में संचित तरह-तरह के किस्सों में। लेकिन ये कहानियां कहते हुए देवदत्त किसी दी हुई आस्था का सहारा नहीं लेते, वे उन कथाओं के भीतर झांकते हैं, उनके मानी खोजते हैं और फिर बताते हैं कि देखते हैं कि इनमें मिलने वाली स्त्रियां किस तरह के सांस्कृतिक पर्यावरण में सांस लेती और विचरती हैं।

आम तौर पर इस तरह की किताबों में एक खतरा अपने बने-बनाए निष्कर्षों के मुताबिक कथाएं चुनने और कुछ साबित करने का रहता है। लेकिन देवदत्त पट्टनायक ऐसे किसी आग्रह से सायास या अनायास भी संचालित दिखाई नहीं पड़ते। न वे किसी भाव विगलित आस्था के साथ अतीत की देवियों का गौरवगान करते हैं और न ही किसी क्रांतिकारी मुद्रा में उनकी कथा की पुनर्व्याख्याओं को जरूरी बताते हैं। वे बस कहानियां उठाते हैं और कई स्त्री कथाएं हमारे सामने सांस लेने लगती हैं। इन कथाओं की स्त्रियां देवी हों, दानवी हों या अप्सरा या फिर सामान्य नारियां- अंतत: वे प्रथमतः और अंतिमत: स्त्रियां ही निकलती हैं जो पुरुष वर्चस्व वाली व्यवस्था के बीच या बावजूद अपने होने के अर्थ खोजती हैं, सृजन की अपनी शक्ति के कई आयाम खोलती हैं। और इसी के साथ हमारे सामने जैसे स्त्रियों की एक नई दुनिया खुलती है- कहीं वे अभिशप्त दिखती हैं, कहीं अभिशाप देती नज़र आती हैं, कहीं किसी शपथ की शिकार दिखती हैं, कभी खुद शपथ लेती मिलती हैं, कामना, वासना, रक्त और स्वेद में डूबी हुई स्त्रियां, प्रेम और घृणा की सरहदों के आरपार जाती स्त्रियां, सतीत्व और अभिसार, छल और बल के द्वंद्व में घिरी स्त्रियां- देवदत्त हमारे सामने इतनी सारी स्त्री कथाएं सुलभ कराते हैं कि हम कुछ हैरान हो सकते हैं कि अपनी बहुत गहरी आस्था के बावजूद यह समृद्ध संसार हमसे छूटा क्यों रह गया?

इस किताब से गुजरते हुए यह परेशान करने वाला सवाल हमारा पीछा कर सकता है कि आख़िर इन कहानियों के लेखक कौन हैं, उनकी प्रेरणाएं क्या हैं? क्या वे सिर्फ़ कल्पना या आस्था की उपज हैं? या इन स्त्रियों का कोई वजूद कभी रहा है- भले ही उस धार्मिक रूप में नहीं, जिसमें वे आज प्रस्तुत की जाती हैं, बल्कि एक धुंधली अनैतिहासिक स्त्री-उपस्थिति की तरह जिसे समाज नज़रअंदाज नहीं कर पाया?

क्योंकि ये स्त्रियां वे नहीं हैं जिन्हें हमारे सामने भारतीय नारी की तरह पेश किया जाता है। ये मौन, कातर, सलज्ज वैसी अबलाएं नहीं हैं जिन्हें आदर्श बताया जाता है। ये शक्तिशाली स्त्रियां हैं, ये अपने काम में निपुण हैं, ये प्रेम करती हैं, प्रतिशोध लेती हैं, ज़रूरत पड़ने पर दंड और शाप भी देती हैं और कभी-कभी सिर भी काट ले सकती हैं। अचरज इस बात से भी होता है जिन यौन प्रसंगों को हम अपने यहां बहुत ढंक-तोप कर रखते हैं, उनकी इन देवियों के जीवन में बड़ी सार्वजनिक और खुली उपस्थिति है। यह साफ़ दिखता है कि यौन संदर्भ इन कथाकारों को डराते नहीं हैं- वे ऐसे वर्जनीय विषय नहीं हैं जिनसे आंख मिलाना अनैतिक-असांस्कृतिक माना जाए। इन यौन प्रसंगों के दायरे में हमारे लगभग सारे देवता और देवी आते हैं। शिव और पार्वती तक की कथाएं प्रेम और ईर्ष्या, क्रोध और शमन के बीच घूमती और अपने नए अर्थ बनाती रहती हैं।

दूसरी बात यह कि इस किताब में वर्णित कई कथाएं हमारी सुनी हुई हैं- मगर जस की तस नहीं, उनमें कई बदलाव हैं। चूंकि उनके स्रोत भी उनके साथ दिए हुए हैं, इसलिए यह नहीं कहा जा सकता कि लेखक ने उनमें फेरबदल किए हैं। यही नहीं, एक-एक कहानी के कई रूप मिलते हैं। इनसे यह समझ में आता है कि सभ्यता और संस्कृति के विशाल सफ़र के दौरान अलग-अलग युग में ये कहानियां बदलती रही हैं। यही नहीं, कई कहानियां आपस में गुंथी हुई हैं और एक-दूसरे के होने का तर्क बनाती हैं। मसलन गणेश को लेकर हमें यह कहानी तो मालूम है कि उनका सिर उनके पिता शिव ने इसलिए काट दिया कि उन्होंने स्नान करने तक किसी को भीतर न आने देने के अपनी माता के आदेश के तहत शिव को भी रोक दिया था। लेकिन शिव पुराण और वामन पुराण के हवाले से हमें यह कम प्रचलित कहानी मिलती है कि यह शिव नहीं, पार्वती थीं जिन्हें संतान चाहिए थी। शिव ने कहा था कि वे एक संन्यासी हैं और पुत्र और परिवार का बोझ नहीं उठा सकते। ऐसे में पार्वती ने अपने शरीर पर तेल और हल्दी लगाई और फिर उसे पोछ लिया, जिससे विनायक हुए। विनायक चूंकि अपने पिता को नहीं पहचानते थे इसलिए उन्होंने शिव को घर में दाखिल होने से रोका।

ऐसी कम प्रचलित या अप्रचलित कहानियां और भी हैं। देवी भागवत में सीता के जन्म की एक दिलचस्प कहानी का उल्लेख है। इस कहानी के मुताबिक वेदवती नाम की एक महिला ने ब्रह्माचर्य का व्रत लिया हुआ था। राक्षसों के राजा रावण ने एक दिन उसकी झोपड़ी में घुसकर उससे बलात्कार की कोशिश की। वेदवती हवन कुंड में कूद पड़ी। उसने ख़ुद को जला कर मार लिया। इसके नौ महीने बाद रावण की पत्न मंदोदरी को बेटी हुई। ज्योतिषियों ने कहा कि ये वेदवती का पुनर्जन्म है। उन्होंने रावण को सलाह दी कि वह इस बच्ची को मार डाले नहीं तो वह उसे मार डालेगी। रावण ने उस बच्ची को समुद्र में फिंकवा दिया। समुद्र की देवी ने उसे बचा कर भू देवी को दे दिया। भूदेवी ने उसे मिथिला नरेश को सौंप दिया। यह बच्ची सीता थी जो बाद में रावण की मृत्यु का कारण भी बनी।

देवी भागवत में ही एक कहानी सीता के सतीत्व के बल के बारे में है। अयोध्या में एक बार एक हज़ार सिरों वाला राक्षस दाखिल हो गया। पूरा नगर उससे आक्रांत था। बताया गया कि उसे कोई सती ही मार सकती है। अयोध्या की सारी स्त्रियों ने उससे युद्ध किया मगर हार गईं। अंत में नागरिकों के अनुरोध पर राम ने सीता को भेजा और सीता ने एक तीर से राक्षस का वध कर दिया।

हमारी तरह के बहुत सारे लोगों को ये विस्मय में डालने वाली कहानियां हैं। अपने अप्रचलित या ने होने की वजह से नहीं, बल्कि इसलिए भी कि इन कहानियों से गुजरते हुए देवता हों या ऋषि, देवी हों या संन्यासिनी, सब बहुत मामूली लोगों की तरह बरताव करते मिलते हैं। बेशक, उनके पास अपने-अपने तप से अर्जित बल होते हैं, मगर लोभ में, काम में, क्रोध में, प्रेम में ऐसी किसी भी दूसरी भावना में वे मनुष्यों से स्पर्द्धा ही करते पाए जाते हैं। जाहिर है, एक समाज के भीतर वे उसकी कामनाओं और कल्पनों की आंच में पकी-पगी कहानियां हैं।

कृपया यह न समझें कि स्त्रीत्व का यह कथा-संसार निहायत स्वतंत्र है और उस पर अपने समय के पुरुष प्राधान्य की छाया नहीं है। उल्टे अगर इन कथाओं के बीच से विचार या आचरण का कोई सूत्र और सिलसिला देखने की कोशिश करें तो यह समझ में आता है कि स्त्री अंततः पारिवारिक व्यवस्था के केंद्र में रखी गई है। उसका मातृत्व, उसका पत्नीत्व, उसका सतीत्व- सब कुछ इतना प्रबल है कि इसके जरिए वे परिवार को ही नहीं, दुराचारी और बलात्कारी पतियों तक को बचा ले जाती हैं। स्त्रीत्व के अन्य रूपों का भी मान तभी है जब तक उससे समाज के नियम सधते हों- यह वह निर्बाध स्वतंत्रता नहीं है जो स्त्री के बिल्कुल निजी व्यक्तित्व के विकास का रास्ता बनाती हो। स्त्री तभी तक शक्तिशाली नज़र आती है जब तक वह किसी न किसी रूप में पुरुष का उपकरण है या बनने को तैयार होती है। वह राक्षसों को मार सकती है, वह भटके हुए साधुओं को शाप दे सकती है, वह अपने पति को यमराज के मुख से छीन कर ला सकती है, वह अपने बेटों को दुबारा जिला सकती है, लेकिन अगर वह बलात्कृता भी हो तो अपना गर्भ नहीं गिरा सकती। लेखक ने महाभारत के हवाले से बताया है कि कंस ऐसे ही बलात्कार से पैदा हुआ था। मथुरा के शासक उग्रसेन की पत्नी पद्मावती से गोभिला नाम के दानव ने बलात्कार किया। उसने बार-बार कोशिश की मगर अपना गर्भ नहीं गिरा सकी। अंततः उसने कंस को जन्म दिया।

इसी तरह अगर कोई स्त्री पुरुष के संपर्क में न आए तो माना जाता था कि उसने अपने सांसारिक दायित्व का निर्वाह नहीं किया और इसकी सज़ा उसे अगले जन्म तक भुगतनी पड़ती थी। महाभारत की ही एक कहानी के मुताबिक ऋषि कुणीगर्ग की बेटी ने किसी पुरुष के साथ संपर्क करने से मना कर दिया। हालांकि उसने अपनी इंद्रियों पर विजय प्राप्त कर ली थी, मगर उसे स्वर्ग में घुसने नहीं दिया गया क्योंकि उसने अपने सांसारिक कर्तव्य पूरे नहीं किए थे। फिर वह धरती पर लौटी और उसने एक ऋषि के साथ संबंध बनाए तब जाकर उसके लिए स्वर्ग का रास्ता खुला। जाहिर है, स्त्रीत्व की शक्ति और सम्मान तभी तक हैं जब तक वह पुरुष और पति के साथ मिलकर संसार चक्र को चलाने में सहायक होती है। जहां उसका स्वतंत्र अस्तित्व है, वहां भी अंततः उसका रूपांतरण एक उपयोगी देवी के रूप में लगभग अपरिहार्यतः होता है। यह स्वतंत्रता, और उससे जुड़ी विध्वंस की ताकत किसी निश्चित उद्देश्य के लिए की गई एक अस्थायी व्यवस्था है जिसे अंततः रूपांतरित होना है।

बहरहाल, यह बात भी बहुत निश्चयपूर्वक नहीं कही जा सकती। अंततः ये कहानियां हैं जो रामाय़ण और महाभारत के अलग-अलग संस्करणों से, अलग-अलग पुराणों और भागवतों से, स्मृतियों से, किंवदंतियों और लोकविश्वासों से ली गई हैं। इनसे बस इतना ही समझा जा सकता है कि भारतीय स्त्री स्त्रीत्व की किन्हीं जड़ या इकहरी परिभाषाओं में नहीं बंधी रही, यह सामाजिक जड़ता है जिसने उन्हें बांधा है।

प्रियदर्शन

दूसरी बात इनसे यह समझने की है कि आस्थाओं के कोई इकहरे पाठ नहीं हो सकते। अलग-अलग समय में, अलग-अलग अंचलों में और अलग-अलग बोलियों-भाषाओं में कहानियां बदलती रहती हैं, वे स्थानीयता की धूप और पानी में कुछ और होती जाती हैं। उनको लेकर दुराग्रह पालना अंततः अपनी बहुत सारी कहानियों से हाथ धो बैठना है।

आख़िरी बात यह कि किताब निश्चय ही पठनीय है और विचारणीय भी। प्रभात रंजन के किए अनुवाद में प्रवाह है और भाव अटकते नहीं। बेशक एकाध जगहों पर शायद बेध्यानी में कुछ चीज़ें छूटी हैं- जैसे जिसे हम दंडकारण्य के रूप में जानते हैं, वह दंडका के वन हो गए हैं। इसी तरह किताब के शीर्षक में ‘एटर्नल’ के अनुवाद के रूप में ‘अनंत’ से बेहतर ‘शाश्वत’ लगता है। ‘अनंत’ में एक संख्याबोधकता है, जबकि ‘शाश्वत’ में कालातीत होने का भाव- जो इस किताब की भावना के करीब पड़ता है। मगर फिर भी अनुवाद ठीक है और पठनीयता को क्षतिग्रस्त नहीं होने देता।

======================

भारत में देवी, अनंत नारीत्व के पांच स्वरूप: देवदत्त पटनायक, राजपाल एंड संस, 295 रुपये

 
      

About Prabhat Ranjan

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