The Play Amrapali is based on a famous story of the Buddhist period in India. Generally, many stories and characters, as enshrined in the great epics of the Mahabharat and the Ramayan of India, are creatively transferred and have wider acceptability and readership among the public. The incidents of Buddhist and Jain texts scripted in Pali and Prakrit languages strongly impact contemporary life in society and literature. While reviewing the literature of Bauddha Bhikshunis (female mendicants), I came across Ambapali, a Courtesan (Bride of the City) of Vaishali. There was a small state, Vaishali, in North India two thousand and six hundred years ago. It was the Sangha-governed Republic. A vast mango orchard was on the outskirts of this city. One day, while wandering, the mango grove’s watchman was startled to see an abandoned newborn girl beneath a mango tree. As per the approval of the state council, the issueless watchman nourished and nurtured the girl. When she found the child under the mango tree, she was named after Amrapali/Ambapali/Amba.Like a celestial nymph, Amrapali became a young nubile girl known for her beauty and charm. She was divinely graced. She was second to none in dancing and singing. Having participated in the Annual Dance Programme, Ambapali was declared the ‘Royal Court Dancer’ by the State Republic. Because of her extraordinary beauty, the Merchants, the Barons, and the members of the State Council started fighting among themselves to be with her. So, the state Board of Council announced the Courtesan (Bride of the City) for the city’s welfare. Every male in the town would have the right to spend time with her.The anecdote of Amrapali’s beauty and dance performance of sublime order had been spread worldwide. The insolent Emperor of Magadha, the enemy state of Vaishali Republic, Bimbisara, had disguised himself to enter the palace of Ambapali and received hospitality as a guest for seven days. When the State Council of Vaishali came to know about the matter, it immediately tried to arrest King Bimbisara; Ambapali helped him escape the spot. Then, the love story of Bimbisara and Amrapali was brought to the limelight. The State Council accused Ambapali of developing a love relationship with the King of the enemy state. On the other side, the King of Magadha Bimbisara fought with the Vaishali Republic to marry Ambapali and won the state. However, Ambapali showed hesitation in moving to Magadha and leaving Vaishali. At this time, the most compassionate Lord Buddha reached the city. Ambapali surrendered at the feet of Tathagata Buddha and started to lead the life of a female mendicant with the hope of getting nirvana (Salvation).

The playwright Narayan Sahoo brilliantly knocks on society’s door to glance over the agonies and suffering the dominated class is experiencing daily through his O Saba Sesha Loka. This has been translated from Odia into English as And the Wretched. Here, he focuses on how people experiencing poverty suffer unendingly and their voice is unheard diachronically. Moving across the axes of Time and Space, the picture remains almost the same, though the illustrations he has stated are of this Indian Peninsula. The powerless and the voiceless raise their voices against the powerful and dominant classes for approving their natural rights. The writer advocates the mantra (dictum), as prescribed in the dialogue of Great Man, can be simplified that nothing is possible through negotiation so far. The alternative to this is revolution, the means of ascertaining one’s rights and individuality. He painstakingly cites Ekalavya’s case from the Mahabharat, the historical case of the Sun Temple of Odisha and the contemporary society wherein we are all the subjects successfully. He has undoubtedly justified the title of his play. Let’s look at the vignettes he has snapped in his creative oeuvre for the wider readership.