Parijat Haran || Naatghar Majuli || Directed by SNA Awardee Bhaben Borbayan скачать в хорошем качестве

Parijat Haran || Naatghar Majuli || Directed by SNA Awardee Bhaben Borbayan

Parijāt Haran, composed by Mahāpurush Srimanta Sankardeva, is a celebrated Ankiyā Nāt based on a well-known episode from the Purāṇic tradition, centring on Lord Krishna’s removal of the celestial Pārijāta tree from Indraloka. Through this mythological narrative, the play articulates core Vaiṣṇava ideals while critiquing pride, ego, and false authority. The play begins with Nārada Muni, whose role as a cosmic instigator sets the dramatic action in motion. By presenting the divine Pārijāta flower to Satyabhāmā, Nārada subtly awakens her desire and pride. Satyabhāmā, contrasted with the gentle and self-effacing Rukmiṇī, insists that Krishna procure the entire Pārijāta tree from heaven, thus testing both Krishna’s affection and divine purpose. To fulfil Satyabhāmā’s wish, Lord Krishna journeys to Indraloka, where the Pārijāta tree grows in Nandana garden under the guardianship of Indra, the king of the gods. Indra’s refusal to part with the sacred tree leads to a confrontation between divine authority and divine ego. A dramatic battle ensues, in which Krishna effortlessly subdues Indra, exposing the hollowness of Indra’s pride and worldly power. Ultimately, Indra realises his arrogance and submits to Krishna’s supreme divinity. The Pārijāta tree is brought to Dvārikā, where Krishna plants it not in Satyabhāmā’s garden alone but in a manner that benefits all, subtly reasserting spiritual equality and divine wisdom over possessive desire. Structurally, the Ankiyā Nāt follows the traditional conventions of Sankardeva’s dramaturgy—Sutradhāra’s narration, devotional songs (bargeet-like compositions), stylised dialogue, and symbolic action—transforming a mythological episode into a vehicle for bhakti and moral instruction. Thematically, Parijāt Haran foregrounds the subjugation of ego (ahaṅkār), the supremacy of bhakti over power, and the compassionate yet corrective nature of divine grace. Within the Assamese bhaonā tradition, the play remains a powerful example of how Sankardeva reshaped Purāṇic myths into accessible spiritual theatre, blending devotion, aesthetics, and ethical reflection.