Plot
Prologue
The prologue of Nagananda begins with a blessing, invoking Lord Buddha’s protection for the audience. The narrator describes Buddha as calm and wise, unaffected by distractions or temptations. Even when Mara, the demon of desire, and his nymphs tried to seduce him, or when Indra and other celestial beings stood in awe, Buddha remained unmoved, lost in deep reflection and compassion. The prayer seeks Buddha’s blessings for the viewers.
The Stage Manager then addresses the audience directly. He mentions that at the Feast of Indra, kings from various lands gathered and requested the performance of Nagananda. This play, written by King Sri Harsha Deva, tells the story of the noble prince Jimutavahana. Though the kings had heard about the play’s greatness, they had never seen it performed. They urged the Stage Manager to stage it with all its grandeur, honoring the poetic brilliance of Sri Harsha.
Confident about the play’s success, the Stage Manager believes that the compelling story, talented actors, and discerning audience guarantee a remarkable performance. After deciding to prepare for the play, he goes to fetch his wife.
An actress enters, crying. She shares her sorrow that her father, renouncing worldly life, has left with his wife to a sacred grove. This revelation deeply affects the Stage Manager, who reflects on his own duty to his father. Inspired by Jimutavahana, the play’s hero known for his selflessness and filial devotion, the Stage Manager resolves to follow his father to the forest, leaving behind his comforts and possessions.
This decision mirrors the themes of duty, sacrifice, and compassion central to the play, setting a tone that prepares the audience for the moral and emotional depth of the story.
Analysis
The prologue of Nagananda sets the stage for the play by introducing its main themes of duty, sacrifice, and compassion. It begins with a prayer (Nandi) to Lord Buddha, praising his kindness and calmness. This establishes a spiritual tone and reflects Buddhist values like non-violence and selflessness, which are central to the play.
The Stage Manager explains that the play is being performed at the request of many kings who admire King Harsha’s talent. This highlights the importance of the play and Harsha’s literary brilliance.
The story of the Stage Manager’s wife, whose father has left worldly life for a spiritual retreat, mirrors the main plot’s themes. Her emotional turmoil and the Stage Manager’s decision to prioritize his duty to family symbolize the play’s message about the importance of love, responsibility, and self-sacrifice.
Overall, the prologue prepares the audience for a meaningful story about compassion and justice while blending relatable emotions with deeper spiritual lessons.
Act 1:
In the first act of Nagananda, King Jimutaketu of the Vidyadharas announces his desire to step down from the throne and retire to the forest as a hermit. He offers the throne to his son, Jimutavahana. However, Jimutavahana, instead of accepting the kingdom, chooses to accompany his parents to the forest to care for them. He takes his friend Atreya (Vidushaka) along with him. From the beginning, Jimutavahana expresses no interest in the luxuries of youth or the power of ruling a kingdom, recognizing these as fleeting and often meaningless pursuits. Vidushaka tries to convince him to embrace the pleasures of kingship, but Jimutavahana remains firm in his belief that serving his parents is a greater honor and joy. He reassures Vidushaka that the kingdom will remain stable even in his absence and focuses on making his parents comfortable in their forest retreat.
As they journey to Malaya Hill in search of a new hermitage for his parents, they arrive at an ascetic grove, a serene and spiritually significant place. There, they hear a melodious prayer sung by Malayavati, a princess devoted to Goddess Gauri. Jimutavahana is captivated by her beauty and the sweetness of her voice but chooses to observe her respectfully from a distance. Malayavati, deeply spiritual, reveals in a conversation with her servant that she had a dream where the goddess promised she would marry a Vidyadhara prince.
Vidushaka, upon hearing this, urges Jimutavahana to approach Malayavati and reveal his identity, but Jimutavahana hesitates. Vidushaka, ignoring his reluctance, drags him in front of Malayavati. Vidushaka respectfully introduces Jimutavahana and declares that the goddess’s promise has come true. Surprised, Malayavati asks for clarification, and her servant Chaturika confirms that Jimutavahana is indeed the Vidyadhara Prince. Malayavati listens to Jimutavahana’s kind words about her with modesty and admiration but becomes shy and anxious. She tries to leave, but Vidushaka and Chaturika persuade her to welcome Jimutavahana.
At this moment, an ascetic arrives and further confirms that Jimutavahana is destined to be the future king and that Malayavati is fated to be his wife. However, Malayavati soon departs to fulfill her spiritual duties, leaving Jimutavahana deeply moved by her departure. Despite his feelings for her, he remains dedicated to his responsibilities. The scene ends on a lighter note with Vidushaka, playing his usual comic role, complaining about his hunger as the characters leave the stage.
Analysis
Act 1 introduces Jimutavahana, the ideal hero who renounces kingship to care for his aging parents, reflecting the themes of duty, sacrifice, and renunciation. His philosophical reflections emphasize the fleeting nature of power and material pleasures, setting a moral tone for the play. The forest symbolizes asceticism and spiritual devotion, contrasting with worldly life.
The act also introduces Malayavati, who is destined to marry Jimutavahana, as revealed through her dream. Their meeting intertwines themes of love and destiny, foreshadowing their union and divine blessings.
The Vidushaka adds comic relief, balancing the serious tone and making Jimutavahana’s choices more relatable. The act lays the foundation for the central conflict and moral dilemmas while blending philosophy, romance, and duty, engaging the audience with the hero’s selfless journey.
Act 2:
In this act, Malayavati is deeply troubled by her feelings for Jimutavahana and becomes physically ill, suffering from a fever. She sends her servant, Manoharika, to check if her brother Mitravasu has returned. Her maidservant, Chaturika, takes her to a cool sandal-creeper bower and prepares a soothing seat for her to rest. However, the fever does not subside, as it stems from her unspoken love for Jimutavahana, whom she met at the temple of Goddess Gauri. Chaturika believes that Malayavati’s distress is due to her yearning for Jimutavahana, who was promised to her by the goddess.
Meanwhile, Jimutavahana is also struggling with his emotions. Accompanied by his friend Vidushaka, he enters the same bower, sharing a dream he had about Malayavati. In the dream, he saw her sitting sadly on a moonstone seat. To find some relief for his feelings, he decides to draw her likeness on the seat. Malayavati, hidden nearby, overhears Jimutavahana’s words but misunderstands his intentions. She mistakenly believes that he loves someone else, which causes her great sorrow.
At this point, Malayavati’s brother, Mitravasu, arrives and formally proposes her marriage to Jimutavahana. However, Jimutavahana, trying to stay loyal to the girl he met at the temple (unaware that she is Malayavati), hesitates and rejects the proposal. Mitravasu, confident that Jimutavahana’s father, Jimutaketu, would support the match, decides to approach him directly, knowing Jimutavahana would not go against his father’s wishes.
Heartbroken and believing that Jimutavahana has rejected her, Malayavati decides to end her life. She tries to hang herself. Chaturika alerts Jimutavahana just in time, and he rushes to stop Malayavati. He gently removes the noose from her neck and comforts her, assuring her of his feelings. Malayavati sees the drawing Jimutavahana made on the moonstone seat and realizes that his love has always been for her.
Shortly after, a maidservant brings joyful news: Jimutaketu has accepted the marriage proposal, and Malayavati must prepare for her wedding. Overcome with happiness, the couple begins their preparations. The act ends with a sense of relief, joy, and the deepening of their love, setting the stage for their union.
Analysis
Act 2 deepens the emotional and romantic elements of the play while exploring themes of love, misunderstanding, and destiny. Malayavati’s illness, caused by her unspoken feelings for Jimutavahana, highlights her emotional vulnerability and devotion. Meanwhile, Jimutavahana’s own turmoil demonstrates his sincere love, setting up their bond as central to the story.
The act is driven by a misunderstanding when Malayavati overhears and misinterprets Jimutavahana’s words, thinking he loves someone else. This adds dramatic tension and reveals the depth of their feelings. Malayavati’s attempt at suicide underscores her intensity and devotion, while Jimutavahana’s rescue resolves the misunderstanding and strengthens their relationship.
The act also introduces family dynamics and destiny as Malayavati’s brother proposes her marriage to Jimutavahana, connecting their union to divine will. The resolution, with the couple preparing for their wedding, brings a sense of relief and joy, reinforcing the themes of love and commitment amidst challenges.
Act 3:
In this act, Jimutavahana and Malayavati are now married, and the scene begins with Sekharaka, a drunken parasite, entering with his slave. He is intoxicated, stumbling around with a wine cup, and speaking about his devotion to drinking and love. He eagerly looks for Navamalika, a servant girl he fancies. As he reaches the flower garden, he mistakes Vidushaka, disguised in red cloth, for Navamalika. In his drunken state, Sekharaka hilariously tries to embrace Vidushaka and feed him betel nut. Vidushaka, annoyed by the smell of wine, tries to escape but is caught by Sekharaka’s slave.
Navamalika enters and sees Sekharaka flirting with Vidushaka, thinking he is her. She pretends to be angry and teases Sekharaka, who realizes his mistake and apologizes profusely to both Navamalika and Vidushaka. Eventually, the situation settles down, and Vidushaka, frustrated but relieved, leaves to freshen up.
Jimutavahana and Malayavati are in a flower garden, enjoying the serene beauty of their surroundings. Jimutavahana admires the garden and praises Malayavati’s beauty, comparing it to a paradise. As the couple enjoys their time together, Atreya (Vidushaka) joins them. Meanwhile, Chaturika, a playful maid, decides to add some humor by teasing Vidushaka. She paints his face black with a tamal shoot as part of a prank. Vidushaka, upon realizing the prank, becomes furious and storms off. Chaturika follows him to explain the joke and calm him down, eventually making peace with him.
The couple is left alone briefly, but their tranquil moment is interrupted by Malayavati’s brother, Mitravasu. He brings serious news that an enemy named Matanga is threatening Jimutavahana’s kingdom. However, despite the gravity of the situation, Jimutavahana remains committed to his principles of compassion and non-violence. He expresses his unwillingness to engage in war and instead wishes to understand and empathize with the enemy rather than resorting to cruelty. Mitravasu grows frustrated with Jimutavahana’s pacifism, accusing him of neglecting his duty to protect the kingdom. Despite Mitravasu’s anger, Jimutavahana remains calm and steadfast in his beliefs. As the day ends, Jimutavahana suggests going indoors to continue their discussion.
The act ends with a reflection on the values of justice and peace. Jimutavahana’s steadfast commitment to non-violence highlights his noble character, even in the face of challenges, as the characters prepare to leave the flower garden.
Analysis
Act 3 blends romance, humor, and foreshadowing while advancing the narrative. The act showcases the newlywed bliss of Jimutavahana and Malayavati as they enjoy each other’s company in the flower garden, symbolizing harmony and beauty. Jimutavahana’s admiration of Malayavati reinforces the romantic tone, while their serene moments underscore the joy of their union.
The comic subplot involving Shekharaka (the Parasite) and Vidushaka provides lighthearted moments, balancing the play’s serious themes. Chaturika’s prank on Vidushaka adds to the humor, creating an engaging contrast to the romantic and dramatic elements.
However, the act also introduces a darker conflict when Mitravasu informs Jimutavahana about an enemy threat. Jimutavahana’s steadfast commitment to non-violence and compassion in response reflects his noble character and foreshadows the moral dilemmas he will face. This act serves as a bridge between the joy of the couple’s union and the looming challenges, highlighting Jimutavahana’s principles amidst escalating tension.
Act 4:
Act Four of Nagananda brings tension and sacrifice to the forefront. It explores themes of compassion, duty, and the ultimate selflessness.
The act begins with a chamberlain and a doorkeeper discussing their duties. The chamberlain, tasked by Queen Visvavasu (Mitravasu’s mother), is delivering red garments for Jimutavahana and Malayavati. The doorkeeper mentions that Jimutavahana and Mitravasu have gone to the seashore, and the chamberlain decides to take the garments to Malayavati instead.
Jimutavahana and Mitravasu are at the seashore, marveling at nature’s beauty. Jimutavahana expresses his desire to serve others and laments that living in the peaceful forest lacks purpose without opportunities to help people. Their peaceful conversation is interrupted when Mitravasu notices piles of white bones. He explains that these are the remains of Nagas (serpent beings), victims of Garuda, the king of birds, who devours one Naga daily. Mitravasu recounts how Vasuki, the king of Nagas, negotiated with Garuda to send a Naga voluntarily every day to prevent the annihilation of their entire race. Jimutavahana is deeply moved and wonders why Vasuki, as a leader, did not offer himself to save his people.
As Mitravasu is called away for other duties, Jimutavahana stays back to explore the area. He hears the cries of a distressed old woman mourning for her son, Shankhachuda, who has been chosen as Garuda’s next victim. Shankhachuda tries to console his mother, urging her to accept his fate. However, the old woman is inconsolable, grieving the imminent loss of her only son.
Jimutavahana listens to their conversation from a hidden spot and is heartbroken. He decides to intervene and offer his own life to save Shankhachuda. As Shankhachuda prepares to climb the execution rock in red garments to meet his fate, Jimutavahana steps forward. He convinces Shankhachuda and his mother to let him take Shankhachuda’s place, arguing that his life’s purpose is to sacrifice himself for others. Sankhachuda eventually asks his mother to leave, promising to fulfill his duty. After the Old Woman reluctantly departs, Sankhachuda goes to Gokarna to prepare for his own ritual.
At this moment, the Chamberlain arrives and gives Jimutavahana the red garments sent by his mother-in-law. Jimutavahana puts on the garments, symbolizing his readiness for sacrifice, and ascends the execution rock.
Garuda, the mighty bird, arrives, creating a thunderous commotion with his wings and immense power. Mistaking Jimutavahana for the Naga sacrifice, Garuda grabs him. Just as Garuda begins to devour him, flowers rain down from the heavens, and celestial drums resound, signaling the gods’ approval of Jimutavahana’s selfless act.
Jimutavahana is content, knowing his sacrifice will save Shankhachuda and bring purpose to his life. Garuda, however, is startled by the divine signs and begins to realize that his victim might not be an ordinary Naga.
The act ends with Jimutavahana being carried away by Garuda, leaving the audience in suspense about the resolution of his selfless act and its consequences.
Analysis
Act 4 transitions the play into its central conflict, highlighting compassion, sacrifice, and moral courage. Jimutavahana learns about the pact between Garuda and the Nagas, where a Naga is sacrificed daily to Garuda. Deeply moved by the cruelty of this arrangement, Jimutavahana resolves to sacrifice himself to save the Naga prince Sankhachuda, showcasing his unwavering commitment to selflessness and protecting the innocent.
The interactions between Jimutavahana, the Old Woman (Sankhachuda’s mother), and Sankhachuda emphasize the emotional weight of the situation and the nobility of Jimutavahana’s choice. The symbolism of the red garments and the execution rock underscores the theme of sacrifice, while Jimutavahana’s ascent reflects his readiness to face death for a higher purpose.
The act also portrays Garuda’s looming presence as a force of nature and justice, setting the stage for the climactic resolution. Jimutavahana’s actions demonstrate the play’s central message: true heroism lies in compassion and the willingness to serve others, even at great personal cost.
Act 5:
The act begins with the Doorkeeper, Sunanda, expressing his concern for Jimutavahana. King Visvavasu has sent him to check on Jimutavahana, who went to the dangerous coastal forest, known for Garuda’s attacks. The king fears that Garuda, the king of birds, who devours one Naga daily, might harm Jimutavahana.
Sunanda arrives at the hermitage of King Jimutaketu (Jimutavahana’s father), where the family, including the queen and daughter-in-law Malayavati, anxiously waits for news. King Jimutaketu reflects on his fulfilled life, having raised a virtuous son and married him to a worthy princess. Yet, he senses something ominous.
As they discuss Jimutavahana’s prolonged absence, a crest-jewel, smeared with blood and flesh, falls from the sky. The queen is terrified, believing it to belong to her son. However, the doorkeeper tries to reassure her, saying it could be from a Naga attacked by Garuda. Despite this, the family is plunged into worry.
Suddenly, Shankhachuda, the Naga whom Jimutavahana saved, enters. He is grief-stricken and shedding tears. Shankhachuda recounts how Garuda carried away Jimutavahana, who sacrificed himself to save him. He feels deep guilt, lamenting that he could neither protect the Nagas nor obey his king’s commands. He resolves to follow Jimutavahana in death.
The family is devastated by the news. Overwhelmed with sorrow, they faint. Shankhachuda revives them, pleading for forgiveness. He encourages them to follow the trail of blood to find Jimutavahana. The family agrees and prepares for the journey. The queen and Malayavati express their resolve to accompany Jimutavahana in death, while King Jimutaketu decides to bring fire from the sacred fire-cell for his son’s funeral rites.
On a distant rock, Garuda sits marveling at Jimutavahana’s bravery. He is astonished by Jimutavahana’s serene demeanor despite his mortal wounds. Garuda notes that Jimutavahana’s courage is so extraordinary that it moves even his predator’s heart. Jimutavahana neither shows fear nor resentment but instead radiates calmness and joy. Garuda, moved by his victim’s heroism, decides to pause and ask Jimutavahana about his identity.
At this moment, Shankhachuda arrives. He reveals that Jimutavahana is not a Naga but a Vidyadhara prince who willingly sacrificed himself out of compassion. Garuda is horrified by this revelation. He regrets his actions deeply, realizing that he has harmed a noble soul renowned for his virtues. Stricken with guilt, Garuda vows to atone for his sins.
As Garuda repents, Jimutavahana’s family arrives, following the blood trail. They find Jimutavahana severely wounded but still alive. He assures them that he is content, as his sacrifice saved Shankhachuda and honored his values. He asks Shankhachuda to care for his grieving mother and wife after his death. However, Jimutavahana’s condition worsens, and he collapses.
The family is overcome with grief. The queen and Malayavati cry out in despair, blaming themselves for not preventing his sacrifice. King Jimutaketu is heartbroken but tries to maintain composure. As they prepare for the worst, Goddess Gauri appears, responding to their prayers.
Gauri, pleased with Jimutavahana’s selflessness, blesses him and restores him to life. She sprinkles him with water from her divine pot, healing his wounds. Jimutavahana rises, fully revived, to the joy of his family.
Meanwhile, Garuda returns, having flown to the heavens to fetch amrit (nectar of immortality). He pours the amrit on the bones of all the Nagas he had devoured, bringing them back to life. The resurrected Nagas, led by Shankhachuda, rejoice and return to the ocean.
Garuda, humbled and remorseful, vows to give up his violent ways. He promises to protect life rather than destroy it and seeks forgiveness from Jimutavahana and the Nagas.
Gauri grants further blessings to Jimutavahana. She anoints him as the universal emperor of the Vidyadharas, bestowing upon him divine treasures:
The Golden Wheel (symbolizing power).
A Four-Tusked Elephant (symbolizing strength).
A Celestial Horse (symbolizing speed).
Malayavati, his devoted wife, as his eternal companion.
The Vidyadharas, including the villain Matanga, bow to their new emperor. Gauri also declares that peace and prosperity will reign under Jimutavahana’s rule.
Jimutavahana expresses gratitude for the blessings and prays for the well-being of all beings. He wishes for:
Abundant rains and fertile lands.
Happiness and harmony among people.
An end to suffering and calamities.
The play ends with Jimutavahana reuniting with his family, ascending to the throne as emperor, and ensuring peace for the Nagas and Vidyadharas. The virtues of compassion, sacrifice, and divine justice triumph, leaving a powerful message of selflessness and universal love.
Analysis
Act 5 serves as the emotional and moral climax of the play, emphasizing themes of sacrifice, redemption, and divine justice. Jimutavahana’s selfless act of offering himself to Garuda is revealed, leaving his family and Malayavati in deep grief. Their preparations for a ritual suicide demonstrate the profound impact of his sacrifice.
Garuda’s transformation upon witnessing Jimutavahana’s nobility highlights the theme of redemption. Overwhelmed with remorse, Garuda seeks to make amends, showing that even great forces of destruction can be moved by compassion and selflessness.
The intervention of Goddess Gauri brings resolution as she restores Jimutavahana’s life with ambrosia, fulfilling her promise to Malayavati and bringing the Nagas back to life. Her blessings on Jimutavahana, crowning him as the universal emperor, symbolize the triumph of virtue and selflessness.
The act concludes with a message of peace, prosperity, and harmony, as Jimutavahana’s sacrifices lead not only to his revival but also to the betterment of all. This finale reinforces the play’s moral core, celebrating the power of compassion and heroic self-sacrifice.
