The Buddha: A Drama in Five Acts and Four Interludes — Reading Companion

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Carus, Paul, 1852-1919 Project Gutenberg 2007 Not confirmed
Gautama Buddha; Buddhism -- Drama Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 22,211
Reading time 97 min
Text sections 4

The catalog record for The Buddha: A Drama in Five Acts and Four Interludes — Reading Companion provides practical reading context through 22,211 words, 1 hr 37 min estimated reading time, and 4 detected text sections.

The text analysis averages about 13.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Gautama Buddha,” connecting these edition facts with the source record’s subject description.

Paul Carus's 1913 verse drama traces Siddhartha's path to enlightenment through five acts and four interludes, blending Buddhist scripture with Western theatrical conventions. The excerpts reveal a work that juxtaposes royal luxury with ascetic renunciation, uses Sanskrit terminology with inconsistent diacritics, and incorporates stage directions for Orientalist spectacle.
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Editorial Edition Score 4.5/5

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Read the Text

There was a man with wrinkled face, bleared eyes, And stooping gait, a sight most pitiable.

_YASODHARA is much moved._

While I was horror-struck, Channa passed by Indifferent, for _he_ had seen such men. Too well he knew the common fate of all; But I, the first time in my life, did learn That, _if_ we but live long enough, we all Shall be such miserable wretched dotards.

_Y._ Too sudden came this saddening truth to you.

_B._ Channa sped on his horses out of town, But there again! what an ungainly sight! A man lay on the road-side, weak and helpless, With trembling frame and feverish cramps. I shut mine eyes to so much racking pain, Still I could hear his groaning and his moaning. "Oh, Channa," said I to the charioteer: "Why does this happen? How deserves this man The wretchedness of his great agonies?" "How do I know?" said Channa, "for we all Are subject to distemper and disease. Sometimes the best are stricken--and must die!" "Must die?" cried I, "What does that word portend?" For, you must know, I never heard of death. My father had forbidden, at his court To speak to me of anything unpleasant. "Yea, die!" said Channa, "Look around and see!" Along the road a funeral procession Moved slowly, solemnly and mournfully And on the bier a corpse, stark, stiff and cold.

_Y._ Do not be troubled, death is still far off.

_B._ Oh do not feel secure, for the three evils Surround us constantly and everywhere, And even now death hovers o'er our house. When I was born my mother went to heaven, Which means, she died when she gave life to me.

_Y._ My Lord don't think of evils that are past.

_B._ The world's impermanence is still the same, And all material things are conformations Subject to pain, decay and dissolution. Yet unconcerned in blessed carelessness Man hunteth after pleasure. Transiency Has set its mark on life, and there is none Who can escape its curse. There is no mortal Who's always happy. Misery surprises The luckiest with unexpected terror. Then, in addition, unseen powers breed Most heinous maladies and fever heat. E'en if we were exceptions, thou must grant That finally we too will meet our doom. The ghastly specter Death, the stern king Yama, Awaiteth all of us. Such is our fate!

_Y._ O put away these gloomy thoughts, and think Of life and love, and of thy lovely child.

_B._ Could we be truly happy while the world Is filled with misery? Mine eyes are opened; I see how death his gruesome revel holds. He owns the world and sways its destinies. One creature ruthlessly preys on the other, And man, the cleverest, preys on them all. Nor is he free, for man preys upon man! Nowhere is peace, and everywhere is war; Life's mighty problem must be solved at last.-- I have a mission to fulfil.

_Y._ And me Wouldst sacrifice for a philosophy, For the idea of an idle quest!

_B._ 'Tis not for me to ask whether my quest Be vain: for me 'tis to obey the call.

_Y._ [_with passionate outburst_] Siddhattha, O my Lord, my husband, what wilt thou do? Dost thou forget the promise made me on our wedding day?

_B_. Yasodhara, a higher duty calls. The time will come, and it is close at hand, When I shall wander into homelessness. I'll leave this palace and its splendid gardens I'll leave the pleasures of this world behind To go in quest of Truth, of saving Truth.

_YASODHARA sinks on her knees before him and clasps his knees._

_Y._ And me, my Lord, thy quest will make a widow! Oh, stay, and build thee here a happy home.

_B._ My dear Yasodhara, it cannot be.

_The Prince stands lost in thought. Rahula is restless. YASODHARA rises and turns toward the child._

_Y_. He wakes again. I come, my babe, I come.

[The veil comes down again, and when it rises it shows the garden before the palace as in the first scene, but it is night and all is wrapped in darkness.]

_King SUDDHODANA (S) and his minister VISAKHA (V) come out of the entrance._ _Later on Captain DEVALA (D) and soldiers._

_S._ Unfortunate, most unfortunate, that Udayin died. Siddhattha will miss the gardener and will ask for him.

_V._ The Prince loves flowers, and he knows them all by name; he loves trees and shrubs, and praises them for yielding fruit and grain for feeding us without the need of shedding blood.

_S._ Have the body removed so long as it is dark.

_V_. The moon is full to-day and must rise in a little while.

The drama opens not with Siddhartha but with a detailed cast of characters and a glossary of foreign terms, signaling Carus's intent to educate as well as entertain. The stage directions for the interludes—such as the Buddha's entry into Rajagaha compared to Christ's entry into Jerusalem—reveal a syncretic approach that frames Buddhist narrative through Christian typology. The first act's setting in the Sakya court establishes a world of luxury and political intrigue, with King Suddhodana and Queen Pajapati speaking in formal verse that echoes Shakespearean drama.

The Interludes as Dramatic Bridges

The four interludes are not mere pauses but integral narrative devices. The stage manager's note suggests they can be replaced by lantern slides or omitted, yet the excerpts show they advance the plot through tableaux: the Buddha's triumphal entry, his acceptance of the courtesan Ambapali's invitation, the philanthropist Anatha Pindika's gift of Jetavana, and Prince Jeta's astonishment at the gold-covered garden. These scenes condense years of teaching into emblematic moments, each accompanied by specific visual instructions—"Buddha stands with raised hand, while five monks sit around him in devout attitude."

Verse and Voice in the Court Scenes

Carus employs blank verse for dialogue, but the excerpts show variation in tone. General Siha's speech in Act III is direct and soldierly: "I draw the sword for my king, for my country and for the restoration of order." The Buddha's replies are aphoristic: "Peace be with thee, and may thy sword ne'er reek with blood." The verse occasionally slips into exposition, as when Siha identifies himself: "I am Siha, his general." The glossary's note that Sanskrit names have inconsistent spelling and diacritics suggests Carus prioritized accessibility over philological precision.

The Buddha's Encounter with Violence

Act III's first scene juxtaposes a Brahman temple with a sheep sacrifice against the Buddha's teaching under a tree. The stage direction describes a farmer's family invoking the goddess Kali after a child's death, with the priest's knife "stained with gore." General Siha, a military man, observes this ritual while the Buddha sits nearby. The scene sets up a contrast between blood sacrifice and the Buddha's path of non-violence, though the excerpt ends before the dialogue develops this conflict. The inclusion of a general named Siha—historically a disciple—hints at the drama's fidelity to traditional narratives.

Orientalism and Stagecraft

The stage manager's note emphasizes that the drama can be performed with "simple means" yet recommends "historical accuracy and a display of Oriental luxury." The interludes describe specific costumes and props: "yellow-robed monks," "a beautifully dressed woman with clasped hands," "bags of gold." The comparison of Ambapali to "the Buddhist Mary Magdalen" and the entry into Rajagaha to Christ's entry into Jerusalem reveals Carus's framework of Christian analogy. The glossary defines terms like "Bodhi" and "Nirvana" for an audience assumed to be unfamiliar with Buddhism.

Readers approaching this drama should attend to the interludes as much as the acts: they carry the narrative weight of the Buddha's public ministry. The inconsistent Sanskrit diacritics and the Christian parallels are deliberate choices by Carus, not errors. The verse is functional rather than lyrical, and the characters often serve as mouthpieces for doctrine. For a first reading, focus on how the stage directions and interludes shape the story's rhythm, and note where Carus diverges from traditional accounts to create dramatic tension.

Reading Siddhartha’s staged renunciation, I recalled sitting on a train years ago, watching fields blur into dusk, feeling the pull between my own comforts and some quieter call. Man and Superman: A Comedy and a Philosophy — A Reader’s Guide once stirred that same ache—Shaw’s characters arguing about life’s purpose while my own questions hung unspoken in the carriage’s hum.

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