वि. स. खांडेकर यांची ययाती ही कादंबरी केवळ महाभारताची पुनर्लेखन नाही, तर प्राचीन पौराणिक घटनेच्या पृष्ठभागाखाली दडलेले मानवी आत्मसत्ता, इच्छा आणि नीतिमूल्य यांचे सखोलचिन्तन आहे. खांडेकराने मिथकाचा वापर करून काळजीपूर्वक त्या प्रश्नांना आजच्या मनाच्या भाषेत उभं केले आहे — “मनुष्य काय हवा असतो?”, “इच्छा आणि कर्तव्य यांचा संघर्ष कसा सामोरा जावा?” आणि “वयाचे अर्थ काय?” अशी प्रश्नमंजुषा कादंबरीच्या प्रत्येक पानावर खुलते. खांडेकरांनी या कादंबरीसाठी १९६० साली साहित्य अकादमी पुरस्कार मिळवला, ज्याने मराठी साहित्यात या कृतीचे महत्त्व अधोरेखित केले.
कथा मुळातल्या महाभारतिक प्रसंगावर आधारलेली आहे — राजा ययातीने आपल्या तरुणपणाची लालसा संतोषावाचूनही पुन्हा अनुभवण्याची इच्छा करून आपल्या पुत्राशी वयोवृद्धीची देवाणघेवाण करते; त्याचा शेवटी अनुभव आणि आत्मनिरभरातत्व या दोनशे मार्गांनी बदलतो. परंतु खांडेकराचा ययाती खऱ्या अर्थाने ‘नायक’ म्हणून उलगडत नाही; तो एखादा समृद्ध, त्रस्त, पौर्णिमेचा मनोविकारी मनुष्य आहे जो आपली आचरण-विचलनं, मोह-माया आणि भावनिक गुंतागुंत उलगडून ठेवतो.
खांडेकरने मिथकातील पात्रांना मानवनिष्ठ, जिवंत आणि अनेकदा विरोधाभासी बनवले आहे. ययातीचा मोह — तारुण्य, कामाला असलेली अनाशिब, जीवनाचा आनंद घ्यायची तळमळ — हे केवळ पौराणिक नाट्यमय घटनेचे तत्त्व न राहता सामान्य माणसाच्या अंतर्मनाशी जोडले जाते. देवयानी-शर्मिष्ठा या स्त्रीवैराच्या संदर्भातून स्त्री-पुरुष नाती, सामर्थ्य आणि अस्मितेच्या प्रश्नांची सूक्ष्मता उतरवण्यात येते. देवयानीची महत्त्वाकांक्षा आणि शर्मिष्ठाचा त्याग, या दोन्ही भावनांना खांडेकरांनी न्याय दिला आहे. विशेष म्हणजे खांडेकराने पुत्र पुरूला केवळ वारसदार म्हणून न पाहता, त्याचा मनोवैज्ञानिक आणि नीतिमूल्यांचा संघर्ष देखील समोर आणला आहे — कारण शेवटी ययातीची ज्येष्ठता तो स्वीकारतो आणि संसाराच्या ताणातून सुटका शोधतो.
कादंबरीचे केंद्रबिंदू म्हणजे ‘वयाची देवाणघेवाण’ हे प्रतीक. हा प्रसंग शाब्दिकही आणि रूपकात्मकही आहे — शाब्दिक म्हणून तरुणपणाची परत मिळवण्याची इच्छा; रूपकात्मक दृष्ट्या तर हे प्रमाण आहे की मनुष्य आपल्या जीवनातील विभिन्न अवस्थांमधून एखाद्या वेळी कितीही प्रयत्न करूनही काही अनुभव पुन्हा मिळवू शकत नाही. खांडेकर याचा संदेश कठोर नाही — त्याने ययातीच्या विवेकबिंदूंना, त्याच्या पश्चात्तापाला आणि त्या पश्चात् मिळालेल्या समजुतीला समजूतदार आणि मानवी दृष्टीने सादर केले आहे.
शैली आणि कृति-तंत्र यांचा विचार केला तर ययाती मध्ये दृश्यात्मकता कमी, अंतर्मुखी मनोदशा जास्त आढळते. भाषेचा सौम्य पण प्रभावी वापर, संवादातील सूक्ष्मता, आणि पात्रांच्या अंतर्गत संवादाचा बारकाईने उलगडा—हे सर्व खांडेकरच्या लेखनात दिसते. तो मिथकातील पैलूंना सुविचारित, मानवीय भावनेत रूपांतरित करण्यासाठी भाषेची साधी परन्तु दावीशक्तीपूर्ण साधने वापरतो — त्यामुळे वाचकाला कथा ऐतिहासिक भानात नाही तर आजच्या आयुष्यातल्या संदर्भात वाटते.
आधुनिक संदर्भात ययाती चा अर्थ विशेष महत्त्वाचा आहे. आजच्या जगातही “अत्यल्प संतोषाच्या ठिकाणी अधिकची तळमळ” — हे मानवी स्वभावाचं वैशिष्ट्य आहे. करिअरची स्पर्धा, वस्तुसंपत्तीची लालसा, नातेसंबंधातील असमाधान — हे सर्व त्या प्राचीन कथेतल्या ययातीच्या लालस्याशी साम्य राखतात. खांडेकरची कादंबरी आपल्याला सुचवते की इच्छेचा अहंकार वा अधीरता व्यक्तीला तात्पुरत्या सुखात हरवू शकते, परंतु त्यातून शिकलेले जीवनदर्शन, उत्तरदायित्वाची जाणीव आणि आत्मनिंदा ही जास्त महत्त्वाची आहेत. ययातीला शेवटी जे ज्ञान मिळते, तेच आपल्याला आजच्या जगात शांतता आणि समाधान मिळवण्यासाठी आवश्यक आहे.
शेवटी ययाती आपल्याला एक शहाणपणाची जाणीव देतो — की व्यक्ती म्हणून आपलं जीवन म्हणजे काही चांगल्या अनुभवांची जमघड नाही, तर त्या अनुभवांमधून मिळणारी समज, त्यातल्या नात्यांची जबाबदारी आणि शेवटी आत्म्याचा आत्मनिरिक्षण. खांडेकराने मिथकाला फक्त पुनर्लेखन न करता त्याला ‘मानवी श्वास’ दिला आहे; त्यामुळेच ययाती आजही वाचकांना विचार करायला लावते, बोलते आणि अंतर्मुख करते — जरी कथा पौराणिक असली तरी तिचा अर्थ काळाच्या पलीकडचा आणि अतिशय आधुनिक आहे.
मराठी साहित्यात व. पु. काळे म्हणजे एक वेगळंच विश्व. त्यांना वाचताना असं वाटतं की आपण स्वतःलाच आरशात पाहतो आहोत. त्यांचा
मराठी साहित्यातील एक अद्वितीय कादंबरी म्हणजे शिवाजी सावंत यांची ‘मृत्युंजय’. ही कादंबरी केवळ महाभारतातील कर्णाच्या आयुष्याची कहाणी सांगत नाही, तर
मराठी साहित्यात विनोद ही एक वेगळीच परंपरा आहे. टोकदार व्यंग, गमतीशीर निरीक्षणं आणि हलकीफुलकी शैली यामुळे मराठी वाचकांना नेहमीच हास्यरसाचा
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New Era Publishing House 1st Floor,
Suman Apartment Opposite To
White Lotus Behind Pudhari
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