All State University, NEP New Syllabus
Indian English Literature, Girish Karnad Plays
NAGA MANDALA
by Girish Karnad
About the author :-
Girish Karnad is a multi-faceted genius: he is a noted stage actor, playwright, film actor, television artiste and creative figure. He is a bilingual writer: he writes in English as well as in his native language, Kannada. He had a leading role in the film Samskara, which won the President’s Gold Medal. Kaadu (Forest), for which he himself wrote the script and which he himself directed also won him the Golden Lotus. He was honoured with the Jnana Pidam Award in 1999.
As a writer in English, he is known for his plays, which are just four in number—Yayati, Tughlaq, Hayavadana and Naga-Mandala. The fifth play, Hiltina Hunga is still to be published. Karnad is an existential playwright. He concerns himself with the problems of existence, the quest for equality, search for identity and the problems of isolation and frustration. Existentialism asserts humanism or the dignity of man. This philosophy is exemplified in all the plays of Karnad. The major theme of these plays is that of responsibility and the quest for identity. For example, in Yayati it is the theme of responsibility; in Tughlaq it is the quest for identity; in Hayavadana it is the search for identity and human relationship. In Naga-Mandala the main theme is the right of a woman to live in dignity and self-respect, not as a shadow of her husband.
Story :
When the play opens, we are told by Story, on of the three main characters in the Prologue, that Rani, with long dark tresses, has come to live in her husband’s house. But Appanna, her husband, shows no interest in her. She is locked in the house and he leaves everyday by night to sleep with his mistress. He comes home for lunch only. He encourages no conversation, and does not like the idea of anyone talking to his wife. Fearful, Rani dreams that she is home again with her parents, who love her, being their only daughter. The stillness of the night frightens her, until she dreams of sleeping securely between her father and mother.
Rani’s life undergoes a drastic change with the arrival of Kurudava, a blind old woman, who moves around with the help of her dark son Kappanna. She claims to be an old friend of Appanna’s dead mother. So Kurudavva feels it her sacred duty to visit her late friend’s daughter-in-law. At first she thinks the house is empty as she finds the lock of the door. But soon Kurudavva realizes that Rani is alone in the house. She is scandalized at the thought that Appanna, though newly married, is with his old concubine, ignoring his bride. Deciding to help the hapless bride, she consoles her and sends Kappanna home to fetch a bit of magic root which an old mendicant gave her years ago. There were three pieces, of which the middle piece was used by her to ensnare her present husband when she was a young maiden. Now she gives Rani the smaller of the two remaining pieces. Following her advice, the girl makes a paste of it and mixes it with Appanna’s food. The latter falls unconscious on eating it. Rani is frightened. But her husband wakes up a little later and leaves as usual after locking her in. He had seen Kurudavva earlier and warned Rani against talking to the old woman again. But the persistent old woman comes back after a while to see if her magic root has worked. Surprised at its failure, she gives Rani the big piece assuring her of total success this time.
Rani prepares a paste with it, but it turns blood-red and explodes when it is boiled along with food. Frightened, she throws the mixture onto an anthill. Naga who lives there gets the full impact of it. Appanna, who sees Rani running back, is furious that she has dared to step out. He slaps her and goes out locking the door. Now the King Cobra has been watching her all the while. He is strangely attracted to her. The next part of the story is based on the myth that a cobra can assume any form it likes. However, if its reflection is seen in a mirror, only the original form of the snake will be seen.
Naga transforms itself into a gentile version of the stern and uncaring Appanna. It takes on the form of Rani’s husband. The surprised bride finds her husband a new man when he comes at night. In her innocence she welcomes his embraces only to be shocked at his cold-hearted behaviour during the day. Obediently she asks no questions but accepts her lot in life as it comes.
Appanna has brought home a dog to keep Kurudavva away from home. But the old woman need not come now, for the events take a turn of their own. Naga, the cobra attacks and kills the dog when it tries to block his path. When Naga assumes Appanna’s form, Rani is surprised to see the wounds on his cheek and shoulder. She gets up to take some healing balm for him. In the process, she glances towards the mirror only to find the reflection of a cobra instead of Appanna’s form. But Naga soothes her fears away. Days pass and Rani feels that she is living in some kind of dream world. Things come to a head when Rani tells Naga that she is pregnant. He appears worried and restless. During the day Appanna beats up the amazed Rani accusing her of infidelity. He even takes up the matter with the village elders and leaves her alone at night again. Naga comes to Rani. He consoles her and says that she must speak the truth as she knows it. He suggests that she should agree to take the terrible snake ordeal to prove her innocence. The whole village gathers to see this test put into practice.
Rani is terribly frightened. She is even encouraged by the kindly elders to admit her guilt. Suddenly Rani walks up to the anthill where the cobra is known to live. She plunges her hand in and pulls the cobra out. It glides over her neck and spreads it hood over her head. There is absolute silence around. The snake then slips back into the hole. The villagers fall at her feet in worship. Her husband Appanna is told that he is blessed in being able to serve such a divine being.
Rani and Appanna live in marital bliss from then on. A son is born to her. Though happy now, Rani gradually begins to understand what must have happened. She realizes that Naga, the cobra, had taken her husband’s place for a while. She understands why the cobra never bit her. She had proclaimed to the crowd that none other than her husband and the cobra had ever touched her. Now she knows the truth of her statement. The story closes with Naga coming to see Rani for the last time. He finds her sleeping with her husband and child. It is too painful a sight for him. He sees her lovely dark tresses cascading down her waist. Naga changes himself into a light small snake, and climbs into her hair. The next day Rani feels a weight on her head. Appanna helps her comb out her long tresses. To their surprise, Rani and Appanna find a small snake tangled in her hair dead. Rani insists on a proper funeral and says that her son must light the funeral pyre. Rani now knows the whole truth.
Kurudavva, the blind woman, turns into a mad woman at the end of the story. She is seen walking around calling out to her son, who is missing and never found. There is a suggestion that he too had been enticed, possibly by a “snake” woman.
Frequently Asked Questions
1) What kind of play is Nagamandala?
Nagamandala is an Indian play written by Girish Karnad, which was originally written in Kannada and later translated into English by the author himself. It is based on Kannada folk tales and combines folk elements with mythical and surreal to present a domestic drama.
2) Who is a blind lady in Nagamandala?
The movie begins with Kurudamma (blind woman) and her son Kappanna visiting her nephew for a Devi festival. There she sees her beautiful daughter Rani. Her nephew asks her to find a suitable match for Rani.
3) What is the title of the Nagamandala?
Nagamandala ( lit. ‘Nāga Mandala’; transl. Serpent Ritual) is a 1997 Indian Kannada-language drama film, directed by T. S. Nagabharana based on a play of same name by Girish Karnad.
4) Which book did Girish Karnad get Jnanpith award?
Which of the following Jnanpith Award winners wrote Tuglaq? Notes: Girish Karnad, who won the Jnanpith Award in 1998, wrote the book Tuglaq in Kannada.
5) Why is Girish Karnad famous?
He is a recipient of the 1998 Jnanpith Award for Kannada, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his major plays into English, and has received critical acclaim across India.
