What is the name of the village buddha preached in the drama chandalika
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Introduction to Chandalika
Rabindranath Tagore (1861-1941) was a major voice of awakening in the Indian Renaissance. Besides being a prolific poet, novelist, playwright, journalist, musician, and mystic, Tagore was an innovative educator. He founded "Shantiniketan" - 'Abode of Peace' an educational institution modeled on the ancient Indian hermitage but relevant to India of his time. The school developed into Visva Bharati, a university of Global Consciousness, drawing stalwart minds--philosophers, thinkers, artists--from Europe and Asia. Tagore was the first Asian to receive the Nobel Prize for Literature in 1913 for his book of poems, Gitanjali, translated by him from Bengali into English. Two of his Bengali poems have become national anthems of India and Bangladesh.
In Chandalika, Tagore interfaces Love's manifold forms creating a conflict verging on violence. The characters' names - Prakriti, Mother and Ananda - are unmistakable symbols unraveling the action of the play. Prakriti (lit. 'Nature,' 'innate human nature') catalyzes the conflict. In Vedic cosmology Prakriti is the female principle (Purusha being the male), one of the two elements of life. Mother, with her power of casting spell, is the primordial Earth. Appropriately, she is called Maya ('Illusion') in the Bengali version of the play. She is "matter" overpowering the "spirit" personified by monk Ananda ('Bliss,' 'Joy') who was also a close disciple of the historical Buddha. Ananda is also a component of the Vedic cosmic principle, Satchitananda (the Absolute): Sat (Truth) Chit (Consciousness), Ananda (Bliss). The conflict between the two spells - material and spiritual--and Prakriti's resultant remorse at the end of the play aptly underscores the literal meaning of the title "Chandalika" (lit. 'The wretched,' also a term for the lowly untouchables.)
Yet the play is not merely an allegory rooted in abstract concepts. The original play is even celebratory with effusion of songs and dances, most of which are omitted from the English translation. Tagore posits the action in multiple polarities of the 20th century India--religion, gender, caste, spirit and matter--capturing a universal human search for love and peace.
Ananda's request, "Give me water," besides indicating his physical need symbolizes water's regenerative image common in many religious traditions. In the Indian context, a holy man asking for water from an untouchable violates a social as well as a religious norm. To receive and to give food or water were sacrilegious for both. The monk's extraordinarily radical request awakens Prakriti's awareness of her own innate Self. The words underline a shift of Buddhist divergence from Hindu orthodoxy in the 6th century B.C.E. India, the time of play's action. Through the universal image of water, Tagore intertwines the ideological revolution reflected in the social, religious, and political scene of his own time. In our times, when religious strife and discrimination have become a source of global conflict, the central theme of the play becomes even more poignant.
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