The Sanskrit Drama in its Origin, Development, Theory & Practice c13.s3.6

c13.s3.6

The *Nāgānanda*,¹ performed at a festival of Indra, perhaps in the autumn, differs from these dramas in its form, for it is a Nāṭaka in five Acts, and in its inspiration; those are variants by Harṣa on the theme of Vatsa’s loves, this is the dramatization of a Buddhist legend, the self-sacrifice of Jīmūtavāhana, which was told in the *Bṛhatkathā*, whence it appears in the later versions of that text² and in the *Vetālapañcaviṃśati*.³ Jīmūtavāhana is a prince of the Vidyādharas, who has induced his father to resign his kingship, and give himself up to a life of calm; he has made the acquaintance of Mitrāvasu, the prince of the Siddhas, who has a sister. She has had a dream in which Gaurī has revealed to her her future husband, and Jīmūtavāhana hidden behind a thicket overhears her confiding this dream to her friend; the Viḍūṣaka forces a meeting on the timid lovers, who shyly confess their affection, when an ascetic from the hermitage arrives to take the maiden away. In Act II Malayavatī is love-sick, resting on a stone seat in the garden; a sound makes her move away, when the king enters, equally oppressed, declares his love and paints his fancy. Mitrāvasu comes to offer him his sister’s hand; the king declines it, ignorant of whom he loves; she deems herself disdained and seeks to hang herself, but her friends rescue her and call for aid. Jīmūtavāhana appears, and proves that she is his love by showing the picture. The two exchange vows, and the marriage is concluded. In Act III, after a comic interlude, we find them walking in the park in happiness; Jīmūtavāhana is apprised of the seizure of his kingdom, but accepts the news gladly. But the last two Acts change the topic. While strolling with Mitrāvasu one day, Jīmūtavāhana sees a heap of bones and learns that they are the bones of serpents daily offered to the divine bird Garuḍa; he resolves to save the lives of the serpents at the cost of his own, gets rid of Mitrāvasu, and goes to the place of offering. He hears the sobs of the mother of Caṅkhacūḍa, whose son is about to be offered, consoles her by offering himself in ransom, but is refused with admiration for his gallantry. But, when the two have entered the temple to pray before the offering, he gives himself to Garuḍa as substitute and is borne away. The last Act opens with the anxiety of the parents of Jīmūtavāhana, to whom and his wife is borne a jewel fallen from his crown; Caṅkhacūḍa, also, emerged from the temple, finds the sacrifice made and reveals to Garuḍa his crime. It is too late; the hero expires as his parents arrive. Garuḍa is ashamed, and Gaurī appears to cut the knot, revive the prince, and re-establish him in his realm, in order to keep faith with Malayavatī; by a shower of ambrosia the snakes slain by Garuḍa revive, and he promises to forego his cruel revenge.