CHANDALIKA - RABINDRANATH TAGORE

NOTES ON 'CHANDALIKA' - RABINDRANATH TAGORE

• Summary of Chandalika by Rabindranath Tagore
• Summary of Chandalika in 200 words
• Read and Find Out Q&A Chandalika by Rabindranath Tagore
• Thinking about the Play
• Appreciation Q&A Chandalika by Rabindranath Tagore

SUMMARY

Much has been written about Tagore’s play, Chandalika which is based on a Buddhist legend Tagore came across while studying Ranjendra Lal Mitra’s The Sanskrit Buddhist Literature. According to the story Ananda, the famous disciple of the Buddha, approaches towards a well to ask for water from a Chandalini, a young untouchable girl. Prakriti, the Chandalini, serves him water from her pitcher and falls in love with him at the first sight. Her passion to possess Ananda compels her mother to cast a magic spell on Ananda and to drag him to her house. The spell proves stronger and Ananda is dragged to the couch spread for him by the Chandalini. Ananda prays to the Buddha to save himself from this shame and remorse. Consequently, Buddha breaks the magic spell and frees Ananda, who walks away from the Chandalini, as pure as he came. The play, for many, has been either a play of spiritual conflict or a psychological drama. Such readings of us however obliterate the most social concerns of the play like casteism and sexuality which make the play more as a social document than a mere stage show of entertainment and aesthetics. Though Subaltern Studies as a critical theory was unheard of in Tagore’s time, it is interesting to revisit and reintrospect Tagore’s Chandalika from the Postcolonial perspective .My paper will try to look at Tagore from the Subaltern standpoint, especially with reference to Gramsci’s notion of the ‘subaltern’ and the postcolonial issues of subjectivity and identity-formation .

Tagore’s Chandalika is a powerful critique of Indian society that ignores and deprives a large community of its fundamental rights and dignity, labelling them as subhuman untouchables. The dominant social groups of the high caste Hindus are much to be blamed for the dastardly acts of inhumanity and cruelty. The narrative of Chandalika is an evidence of the subaltern protest against Brahmanical hegemony and it explores possible ways of redemption. The story parallels powerfully the anti-caste movements associated with Phule, Periyar and Ambedkar. But Tagore does not lose sight of the fact that the Subaltern is held in subjection through its internal weakness and through its acceptance, as evident in the slavish mentality of Prakiti’s mother, Maya, of the moral, social and political ideologies of the ruling class. Maya internalizes and consents to her subordination as ordained. This subjectivity is not just externally imposed but is ingrained in the subaltern culture and consciousness. The mother considers Prakiti’s new birth following the awakening of her consciousness as madness. She chastises Prakiti’s newly gained enthusiasm after her.

Summary of Chandalika in 200 words

The play Chandalika by Rabindranath Tagore is based on a Buddhist legend. Ananda, a disciple of the Buddha, once asked a girl of the lowest caste, a chandalika, for water. This simple act changed the girl, Prakriti. For the first time, she felt respected as a human being. She called it her “new birth.”

Prakriti wanted to dedicate herself to Ananda, but he remained detached. Hurt and humiliated, she forced her mother, who knew magic, to cast a spell on him. The spell was stronger than Ananda’s will, and he was drawn to her house, suffering in shame and torment. When Prakriti saw him degraded, she realised her mistake. He was no longer the noble monk who had given her self-respect. Filled with remorse, she begged forgiveness.

Her mother then revoked the spell but lost her life in doing so. Prakriti was left wiser but deeply saddened.

The play is not about lust but about dignity, pride, and self-realisation. It shows that true love means freedom, not possession. It also teaches that self-consciousness is good in moderation, but when mixed with pride it becomes destructive. Through suffering, Prakriti learns this hard truth, though at the cost of her mother’s life.

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Read and Find Out Q&A Chandalika by Rabindranath Tagore

1. How does Prakriti’s mother react when she hears of Prakriti’s encounter with the monk?

Answer (30–40 words):
Prakriti’s mother is shocked. She fears punishment for breaking caste rules. She cannot understand her daughter’s new feelings. She warns her not to trust monks’ words. She worries that spells may change Prakriti’s soul itself.

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2. Will Prakriti resign herself to her lot?

Answer (30–40 words):
No, she will not resign herself. She refuses to accept her life of humiliation. She insists that her mother must use spells to bring Ananda back. She believes her desire is stronger than religious mantras.

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3. Will the spell work? What will happen when Ananda is made to come?

Answer (30–40 words):
Yes, the spell works but with terrible results. Ananda suffers great torment as he struggles against it. At last, he comes weakened and broken. Horrified, Prakriti repents. The mother revokes the spell and dies in the process.

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Thinking about the Play

1. Why does something so ordinary and commonplace as giving water to a wayfarer become so significant to Prakriti?

Answer (50–60 words):
For Prakriti, giving water is a new birth. No one had ever accepted water from her before. Ananda treats her with dignity, saying all water is holy. This makes her realise her own worth as a human being. The simple act frees her from the lifelong shame of being untouchable.

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2. Why is the girl named Prakriti in the play? What are the images in the play that relate to this theme?

Answer (50–60 words):
The name “Prakriti” means nature. Like nature, she is both nurturing and destructive. Images of clouds, storms, rivers, and flowers reflect her emotions. The spell is called the “spell of the earth.” Her feelings rise and fall like seasons. Her name shows her link with elemental forces of creation and destruction.

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3. How does the churning of emotions bring about self-realisation in Prakriti even if at the cost of her mother’s life?

Answer (50–60 words):
Prakriti’s passion turns into selfish desire. She forces her mother to use magic. When Ananda arrives, broken and humiliated, she realises her mistake. She sees that true love means giving freedom, not possession. This painful learning costs her mother’s life. Yet, it redeems Prakriti, making her wiser and aware of her humanity.

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4. How does the mirror reflect the turmoil experienced by the monk as a result of the working of the spell?

Answer (50–60 words):
The mirror shows Ananda’s agony under the spell. His body appears surrounded by flames. His face shows torment, anger, and deep suffering. At times, he seems to curse himself. Prakriti sees her pain and his merging in the mirror. It symbolises how her desire drags him down from peace to turmoil.

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5. What is the role of the mother in Prakriti’s self-realisation? What are her hopes and fears for her daughter?

Answer (50–60 words):
The mother warns Prakriti against desire. Yet, she finally yields and casts the spell. She loves her daughter and hopes she may find happiness. At the same time, she fears disgrace and punishment. In the end, she sacrifices her own life to save Ananda. Her actions indirectly lead Prakriti to self-realisation.

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6. ‘Acceptance of one’s fate is easy. Questioning the imbalance of the human social order is tumultuous.’ Discuss with reference to the play.

Answer (160–180 words):
The play shows the conflict between accepting fate and questioning injustice. Prakriti is born an untouchable. Society expects her to accept humiliation quietly. Her mother also advises her to remain within limits. But when Ananda accepts water from her, she realises she is also a human being. This new awareness awakens pride and self-worth in her. She refuses to accept a life of shame and dares to challenge both caste rules and religion itself.

Her questioning, however, brings turmoil. She becomes restless and demands possession of Ananda. She forces her mother to use magic against the monk. This act disturbs the order of nature and results in suffering for all. Ananda faces torment, the mother loses her life, and Prakriti herself feels guilt and pain.

Through this, Tagore shows that questioning unjust systems is painful but necessary. Prakriti does not gain happiness, but she gains self-realisation. The play suggests that real change comes only when individuals resist oppression, even if it brings conflict and tragedy.

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Appreciation Q&A Chandalika by Rabindranath Tagore

1. How does the dramatic technique suit the theme of the play?

Answer (160–180 words):
The dramatic technique of Chandalika matches its theme of spiritual conflict. The play is written as a psychological drama, not a simple tale. It uses dialogue, song, and symbolic images to reveal Prakriti’s inner struggle. The well, the mirror, and the spells act as dramatic devices. They externalise her emotions and make the audience see her transformation.

The absence of divisions in acts makes the flow continuous, showing that the conflict is unbroken within her. The songs and chants express moods that cannot be spoken directly. The mother’s spells, the storm, and the mirror add intensity and suspense.

This technique suits the theme because the play is not about outward events but about the awakening of self-consciousness. The drama takes place mainly in Prakriti’s mind and heart. The use of contrast—light and darkness, storm and calm—brings her turmoil alive on stage. Thus, the dramatic form becomes a fitting vessel for Tagore’s exploration of love, pride, sin, and redemption.

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2. By focusing attention on the consciousness of an outcast girl, the play sensitises the viewer/reader to the injustice of distinctions based on the accidents of human birth. Discuss how individual conflict is highlighted against the backdrop of social reality.

Answer (160–180 words):
The play makes the reader feel the pain of caste discrimination through Prakriti’s experience. As an untouchable, she grows up with shame. When Ananda accepts water from her, she feels recognised for the first time. This small act challenges the social order that had denied her dignity.

Her individual conflict begins when she wants to hold on to that recognition. Society says she is impure, but her heart says she is human. She feels torn between the old belief of slavery and the new awakening of self-worth. Her desire for Ananda symbolises her longing for acceptance and equality.

The backdrop of social reality makes her struggle sharper. Religion and caste rules are against her. Her mother warns her not to cross boundaries. Yet Prakriti dares to rebel, and in doing so, she disturbs not only society but her own peace.

Through her conflict, Tagore exposes the cruelty of judging people by birth. The play shows how one individual’s awakening can question the entire social system.

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3. ‘I will enthrone you on the summit of all my dishonour, and build your royal seat of my shame, my fear and my joy’. Pick out more such examples of the interplay of opposites from the text. What does this device succeed in conveying?

Answer (160–180 words):
The play often uses opposites to express intense emotions. Prakriti speaks of being cursed all her life, yet she calls her meeting with Ananda a “new birth.” She compares little water in his hands to a “boundless sea.” She describes poison killing poison, curse fighting curse. The spell itself is shown as both creative and destructive.

Another striking example is when Prakriti says, “Without the churning, how can the well be cleansed?” Here, turmoil becomes a way to reach purity. The images of storm and fire against calm and light also reflect this duality.

This interplay of opposites conveys the complexity of her feelings. She is both uplifted and destroyed by her desire. Love is shown as both divine and selfish. The use of contrasts deepens the tragedy. It shows that human emotions are never simple—they are mixtures of joy and pain, purity and shame. Tagore’s language thus mirrors the contradictions of the human soul.

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4. ‘Shadow, mist, storm’ on the one hand, ‘flames, fire,’ on the other. Comment on the effect of these and similar images of contrast on the viewer/reader.

Answer (160–180 words):
The play uses vivid natural images to symbolise inner states. Shadow, mist, and storm suggest confusion, fear, and helplessness. They reflect Ananda’s turmoil under the spell and Prakriti’s restless desire. Flames and fire, in contrast, suggest passion, destruction, and also purification.

The clash between these images creates a powerful effect. The reader can feel the struggle as if nature itself were shaken. The storm mirrors Prakriti’s desire pulling Ananda down. The flames show both her burning passion and the destructive power of the spell. At the same time, fire also suggests cleansing, as when Prakriti realises her mistake.

These contrasts heighten the drama. They make inner conflict visible to the senses. The stage imagery keeps shifting from light to darkness, from calm to violence, which reflects the unstable emotions of the characters. For the viewer or reader, this creates both fear and pity, leading to a deeper understanding of Prakriti’s tragic journey.

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