Nagananda (Joy of the Serpents) is a Sanskrit play attributed to king Harsha (606 C.E. - 648 C.E.).
Nagananda is one of the best Sanskrit dramas in five acts dealing with the popular story of Jimutavahana's self-sacrifice to save the Nagas. The unique characteristic of this drama is the invocation to lord Buddha in the Nandi verse, which is considered as one of the best examples of the dramatic compositions.
Harsha was a distinguished and creative patron of religions and the arts. He lavished gifts on Buddhist institutions, and it is clear that he was profoundly influenced by Buddhist thought and practices. Still, there is no evidence that he became a Buddhist; rather it would seem that he remained a devotee of Shiva. Late in his life he may have become more concerned with the prosperity of Buddhist institutions as he emulated the manner of Asoka Maurya.
Kings and princes of India prided themselves on the accomplishments of artists, scholars, and poets whom they attracted to their courts. Harsha was no exception. And he had reason to be proud, for in his court were such great literary personalities as Banabhatta and Mayura.
Harsha's participation in the cultured life of his court was more direct than that of most kings, and it is in his personal contribution to Sanskrit literature that he clearly overshadows them. To him are assigned three plays: Priyadarsika, Ratnavali, and the Nagananda. In addition, he is credited with two significant poems on Buddhist themes--the Ashtamahasricaityastotra (Praise to Eight Grand Caityas [Buddhist assembly halls]) and Suprabhatastotra (Laud to Morning)--and a tract on grammatical gender, the Linganusasanam. Harsha's authorship has been disputed on several occasions, but no decisive contrary arguments have been proposed.
The Priyadarsika appears to be the earliest of Harsha's plays. It and the Ratnavali deal with the amorous adventures of the king Vatsa, his queen Vasavadatta, and newcomers to the royal harem. Both plays borrow from the earlier works of Bhasa and Kalidasa (especially the latter's Malavikagnimitra) and are based ultimately on material in the collection Brhatkatha. These plays lack thematic novelty but sustain interest through brisk dialogue. Both are frequently cited by later writers on dramatic theory and technique.
Harsha's Nagananda is his most important play. This five-act drama draws again on the Brhatkatha for the substance of its first three acts. In them, the hero, Jimutavahana, Prince of the Vidyadharas, meets and marries the Siddha princess Malayavati. To that point, the romance of the fairy prince and princess is quite conventional.
The mood of the play changes sharply in the fourth act. Jimutavahana discovers mounds of skeletons which evidence the daily sacrifice of serpents to the celestial bird Garuda. The hero resolves to offer his own body so that the serpents may be spared (a type of resolution very familiar in Buddhist literature). At the drama's conclusion it is the non-Buddhist goddess Gauri, however, who restores the bodhisattva, Jimutavahana, to life. In this attractive and moving drama, Harsha combined Buddhist and "Hindu" themes adroitly and uniquely, and through it one sees clearly his artistic and political genius.
With Harsha's death passed an age unduplicated in Indian history. There would be other Hindu political structures more extensive and longer-lived than Harsha's; and there would appear Sanskrit authors more facile and ingenious than he. But India has not produced again an individual of such wide-ranging talents who could wield the sword, the scepter, and the pen with equal authority.
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