Meza Taung Che Ratu: A Historical Play

Posted on Feb 21, 2025 in Other subjects

Meza Taung Che Ratu: A Historical Play

Meza Taung Che Ratu is a play written by Saya Zawgyi in the post-independence era of Myanmar. The play is divided into four acts, depicting a part of the life of Minister Lekkwe Thondara and the origin of the Meza Taung Che Ratu. It is a well-composed poem that highlights the storyline and plot.

Lekkwe Thondara, as a senior official, was responsible for closely supervising the young men and women in the palace according to the rules. One day, Aung Tin, a young man from the prince’s residence, was found meeting with his lover, Mi Mite, a palace maiden. The guards and the head of the western guard arrested Mi Mite, but Aung Tin escaped. Consequently, Minister Lekkwe Thondara was charged with a crime.

Royal Punishment and Exile

The king ordered that Lekkwe Thondara be branded on the forehead with a sentence. However, Mae Ywe, the wife of U Myat San, pleaded with the Queen Mother for mercy. As a result, the king commuted the sentence to exile to Meza. The Queen Mother, who loved literature and was passionate about it, reminded him to bring palm-leaf manuscripts and *kankusan* (writing materials) to Meza.

With the help of Phoe Sein, he was able to send the *kankusan*. Phoe Sein delivered the Ratu written by Lekkwe Thondara to Mae Ywe. It reached the Queen Mother through Mae Ywe, and King Hsinbyushin had the opportunity to hear it. After reading the Ratu, the Western Minister himself recalled Lekkwe Thondara. The play presents the origin of the Meza Taung Che Ratu, based on the events that took place during the Konbaung Dynasty, in four acts.

Act Breakdown

  • Act 1: Depicts the love affair between Aung Tin and Mi Mite, Aung Tin’s escape, and Lekkwe Thondara’s troubles.
  • Act 2: Shows Lekkwe Thondara’s exile to Meza Taung Che and his family’s suffering and grief. The dialogue between Mi Ywe and Mi Nyo heightens the drama. Mi Ywe says, “Once, he was Lekkwe Thondara, a senior official in the prince’s residence. Now, he is just Nga Myat San, a criminal.” Mi Nyo says, “Ko Yin Gyi Nga Myat San used to submit *paikson* ratus. The Queen Mother also liked them. That’s why Ko Yin Gyi Myat San must always write. One day, his new poems will save his life.” The remaining scenes depict the arrival of *kankusan* at Meza Taung and U Phoe Lone’s assistance, highlighting the circumstances under which the minister could write the Ratu.
  • Act 3: Presents how the Meza Taung Che Ratu was brought to the capital. In addition, the minister tells Phoe Sein, “One should never forget one’s birthplace. When I see the sandy expanse of the Meza River, I remember the Irrawaddy River of our region.” This shows his longing for the capital and the hardships he endured in the Meza forest.
  • Act 4: Depicts the Queen Mother’s arrival at the king’s chamber, her fondness for poetry, and her bringing a new poem. Mae Ywe presents the palm-leaf manuscript, which is read aloud. In this scene, the king remembers the Ratu, thanks the Queen Mother for her reminder, and recalls the minister from Meza Taung.

The minister is attached to his hometown, misses the capital, and wants to see the pagodas and temples. Therefore, when he wrote the Ratu, he wrote it with a sense of longing. In addition, he also wrote about the harsh weather conditions of the Meza forest.

This play effectively connects and highlights the themes of the Ratu.