Hail Vardhaman – Act III

Summary

Act III takes place in Queen Trishala’s opulent dressing room in the evening, where she is surrounded by portraits of princesses from various kingdoms and assisted by her maid Sunita as she searches for a suitable bride for her son. They examine paintings of princesses from Koshal, Malava, Avanti and other realms, debating physical attributes, temperament and suitability while occasionally making humorous remarks. Sunita’s candid comments often verge on the impertinent—she calls one candidate a courtesan and suggests another looks ready for a wrestling bout—but Trishala is persistent, determined to find a daughter‑in‑law. Throughout their discussion she confides that Vardhaman talks constantly of renunciation and has shown little interest in women. When they view the portrait of the Princess of Kalinga (also called the Princess of Shurasena) they are captivated: her eyes glow like white lotuses, her hair shines like waves of the Kalinga shore and her name, inscribed below, is Yashoda. Trishala decides Yashoda is the ideal bride. Prince Vardhaman enters the scene quietly. The queen dismisses Sunita and attempts to discuss marriage with her son by comparing a bride to a live portrait that will fill her room with music. Vardhaman responds with philosophical reflections; he notes that paintings and even human beauty are transient and that all forms decay faster than art. He argues that the human body is a tabernacle inhabited by five serpents (the senses) and that true seekers aim beyond worldly pleasures. Trishala, speaking the language of maternal love, insists that a mother needs a daughter‑in‑law; she recalls her dreams of a lion, a tiger and goddess at his birth and confesses that she has longed for this day. Vardhaman remains silent and then bluntly states that he does not wish to marry. Their conversation escalates when he argues that the world will not suffer if he remains unmarried and that his elder brother Nandivardhan and relatives can continue the dynasty. The queen accuses him of being oblivious to a mother’s feelings. King Siddhartha enters and supports his wife’s plea, arguing that as a prince Vardhaman should marry, rule righteously and then renounce later like earlier tirthankaras. A profound debate ensues, covering karma, non‑violence, social injustice, animal sacrifice and caste discrimination. Vardhaman criticises the violence of Vedic rituals, the oppression of untouchables and the exploitation of women and servants; he insists his duty is to all humanity, not just his subjects. Siddhartha counters with examples of Lord Parshvanath and Adinath who performed householders’ duties before renouncing. Vardhaman argues that times have changed and that he must stop the inflow of karma now. The philosophical stalemate ends abruptly when news arrives that Queen Trishala has fainted in grief; unwilling to injure anyone by word or deed, Vardhaman agrees to marry Yashoda to appease his parents. The act closes with father and son hurrying to bring the happy tidings to the queen, underscoring the tension between filial duty and spiritual aspiration.