Nagamandala

 Nagamandala: Love, Myth, and the Serpent’s Secret in Girish Karnad’s Enchanted Tale

Introduction

Girish Karnad’s Nagamandala (1988) remains one of the most celebrated modern Indian plays for its masterful blending of myth, folklore, psychology, and feminist consciousness. Based on Kannada oral tales, the play examines the complex web of love, identity, and transformation within the framework of traditional Indian storytelling. Through the myth of the serpent and the story of Rani, Karnad reimagines ancient mythic symbols to comment on gender, power, and human desire.

The Mythic Frame: Story and Flame

Nagamandala opens with a meta-theatrical device — a Playwright cursed to stay awake all night and the Story personified as a living woman who visits him. This frame narrative dissolves the boundary between reality and imagination, establishing the play’s central theme: the power of storytelling as creation.

The “Story” recounts the tale of Rani and her husband Appanna, weaving myth and reality into one seamless thread. The story itself becomes an act of resistance, allowing suppressed voices — especially women’s — to be heard.

Rani: The Woman and Her Longing

Rani embodies the silenced and confined woman in patriarchal Indian society. Married to the indifferent and cruel Appanna, she lives in isolation. Her husband visits her only to ensure domestic control, while his affection is reserved for another woman.

Her loneliness sets the stage for enchantment when Kurudavva, an old woman, gives her a love root meant to win her husband’s affection. However, when she accidentally drops it into the anthill’s mouth, it awakens the serpent (Naga) — the true romantic counterpart who transforms into Appanna’s likeness at night.

Through this magical yet tragic intervention, Rani experiences love, intimacy, and fulfillment — though her happiness is born of illusion.

The Serpent’s Secret: Myth as Psychological Reality

The Naga serves multiple symbolic purposes. On one level, he represents divine or cosmic love — tender, understanding, and beyond human cruelty. On another, he is Rani’s psychological projection, an embodiment of her yearning for emotional connection.

Karnad’s use of myth here aligns with Carl Jung’s archetypal theory, where the serpent becomes a mediator between the conscious and the subconscious, between repression and liberation.

The Naga’s secret union with Rani also raises profound questions about truth, identity, and deception — themes deeply embedded in both Indian mythology and feminist discourse.

Love, Power, and Patriarchy

Karnad’s treatment of love is not sentimental but critical. The play exposes how patriarchy distorts both male and female identities. Appanna’s control and suspicion reflect a society that denies emotional reciprocity. Rani’s act of loving the serpent, unknowingly breaking social and moral boundaries, becomes an assertion of her suppressed self.

In the climactic ordeal of truth, Rani must prove her chastity by holding the Naga in her hand and swearing innocence. Miraculously, she survives the ordeal — for her love, though unconventional, is spiritually pure. The myth, therefore, overturns social codes: truth resides not in appearances, but in the sincerity of emotion.

Myth and Modernity: Karnad’s Dramatic Vision

By reinterpreting the serpent myth, Karnad engages in cultural renewal — retrieving India’s oral traditions while addressing modern feminist and existential questions. His narrative technique — a story within a story — reflects the postmodern layering of perspectives, where no single truth dominates.

The myth of Nagamandala thus becomes a site of negotiation between past and present, myth and psychology, patriarchy and female agency. Karnad’s play ultimately redefines myth not as superstition but as a living force that mirrors human complexity.

Conclusion

In Nagamandala, Girish Karnad weaves love, myth, and the serpent’s secret into an enchanted tapestry of storytelling and symbolism. The play transcends its folkloric roots to explore universal questions: What is truth in love? Can illusion be sacred? Where does myth end and identity begin?

Through Rani’s story, Karnad reclaims the voice of the silenced, turning myth into a metaphor for self-realization and creative transformation. His Nagamandala remains a luminous example of how ancient tales can illuminate the deepest truths of modern human experience.

References :

Tuta Eswar Rao, “Mythical Elements in Indian Plays: A Study of Naga-Mandala of Girish Karnad,” Orissa Review (Nov. 2011), pp. 82-85. PDF available: https://magazines.odisha.gov.in/Orissareview/2011/Nov/engpdf/82-85.pdf