Table of Contents

ABHIJNANA SHAKUNTALAM SUMMARY BY KALIDASA

AN INTRODUCTION TO THE PLAYWRIGHT:

Kalidasa probably lived and wrote at the close of the first millennium, though a date later by some five centuries has been assigned to him by some scholars. He is regarded India’s greatest Sanskrit poet and dramatist. In spite of the celebrity of his name, the time when he flourished always has been an unsettled question, although most scholars nowadays favour the middle of the 4th and early 5th centuries A.D., during the reigns of Chandragupta II Vikramaditya and his successor Kumragupta. Undetermined also is the place of Kalidasa’s principal literary activity, as the frequent and minute geographic allusions in his works suggest that he traveled extensively. Numerous works have been attributed to his authorship.

Most of them, however, are either by lesser poets bearing the same name or by others of some intrinsic worth, whose works simply chanced to be associated with Kalidasa’s name their own names having long before ceased to be remembered. Only seven are generally considered genuine. There are three plays, written by Kalidasa, the earliest of which is probably the Malavik Agnimitra (Malavika and Agnimitra), a work concerned with palace intrigue.

It is of special interest because the hero is a historical figure, King Agnimitra, whose father, Pushpamitra, wrested the kingship of northern India from the Mauryan king Brihadratha about 185 B.C. and established the Sunga dynasty, which held power for more than a century. The Vikramorvashlya (Urvashi Won Through Valour) is based on the old legend of the love of the mortal Pururavas for the heavenly damsel Urvashi. The legend occurs in embryonic form in a hymn of the Rig Veda.

The well-known poem Meghaduta, or “The Cloud Messenger” contains some of the most beautiful descriptions of Indian scenery ever written. It is the story of a Yaksha trying to send a message to his lover through a cloud. While languishing in exile in remote solitude of Mount Ramagiri he observes a cloud floating northward, low overhead. Yaksha addresses it in his lonely grief, imploring it to carry a message to his beloved wife in distant Alaca. Kalidasa takes this opportunity to describe the scenery on its route. Most of the poem consists of such vivid description of the country the cloud will pass over.

Kalidasa is acclaimed as ‘Indian Shakespeare’ who penned his masterpieces of plays, poems, epics, etc in Sanskrit. Many Western scholars have attempted to translate his works but the beauty of the original Sanskrit works of Kalidasa, yet to be captured as worth exploring.

AN INTRODUCTION TO THE PLAY:

The best work for study the Rasa theory is Shakuntalam by Kavi Kalidasa. The work has been written in Devanagari scripts; it is a well-known Sanskrit play by Kalidasa. It is a story from the Mahabharata and written in not surely but between the 1st century BCE and 4th century CE. The title “AbhijnanaShakuntalam” means ‘pertaining to token-recognized-Shakuntala’, so the literal translation of the title could be of Shakuntala who is recognised by a token, it sometime translated as The Recognition of Shakuntala” or The Sign of Shakuntala.

The third play, Abhijnanashakuntala (Shakuntala Recognized by the Token Ring), is the work by which KalidAsa is best known not only in India but throughout the world. It was the first work of Kalidasa to be translated into English from which was made a German translation in 1791 that evoked the often-quoted admiration by Goethe. The raw material for this play, which usually is called in English simply Shakuntalaafter the name of the eponymous heroine, is contained in the Mahabharata and in similar form also in The Padmapurana, but these versions seem crude and primitive when compared with Kalidasa’s polished and refined treatment of the story. In bare outline the story of the play is as follows:

King Dushyanta, while on a hunting expedition, meets the hermitgirl Shakuntala, whom he marries in the hermitage by a ceremony of mutual consent. Obliged by affairs of state to return to his palace, he gives Shakuntala his signet ring, promising to send for her later. But when Shakuntala comes to the court for their reunion, pregnant with his child, Dushyanta fails to acknowledge her as his wife because of a curse. The spell is subsequently broken by the discovery of the ring, which Shakuntala had lost on her way to the court.

Kalidasa was one of the greatest Sanskrit Indian poet-playwright. He was considered the Shakespeare of India. It is estimated that he survived around the middle of the 4th and 5th century during the period of the reign of Chandragupta Vikramaditya. He was the one of the gems of the court of Chandragupta. There is not much information about his personal life. He was worshiper of Goddess Kali and she blessed him with wit and intellect.

WORD-NOTES AND ANNOTATIONS:

Act-I

The Benediction: itis performed before the beginning of the play. The ‘Benediction’ is invocation to Lord Siva for. The eight forms of Lord Siva – Water, Fire, The Priest, Sun, Moon, Space, Earth and Air are glorified.

Eight forms: water, fire, the priest, the sun and moon, space, earth, air.

Nayaka: hero

Sutradhara: one who holds the threads and plays the hero.

Nati: wife of director

Apsara: An apsaras or apsara is a type of female spirit of the clouds and waters in Hindu and Buddhist culture. They figure prominently in the sculpture, dance, literature and painting of many South Asian and Southeast Asian cultures. There are two types of apsaras: laukika and daivika.

Chase: The term means to pursue or to follow. It is a significant metaphor in the play. Priyamvada: sweet talker.

Vana-jyotsni: woodland-moonglow

Senapati: the commander of the royal army

Act-II

Sylph: an imaginary spirit of the air.

Trisanku: Trishanku is a king in Hindu religion who belonged to Ikshvaku descendancy. Trishanku is commonly referred to through mention of “Trishanku’s heaven”. The word Trishanku has come to denote a middle ground or limbo between one’s goals or desires and one’s current state or possessions.

Vicinity: the area near or surrounding a particular place.

Chase as the vice: hunting is one of the four most pernicious vices on the ten that kings are warned against, the onther three being drink, whoring and dicing.

Act-III

Prelude: a prelude provides information about events not presented on the stage; a prelude may be brief like this one or long like the one in Act IV, where a number of events that have taken place over a length of time are recounted. Goblet: a drinking glass with a foot and a stem

Virgin: The word kumara means a very young girl, one in her pre-teens, and also a virgin; in the context the second meaning is more appropriate.

Act-IV

Dismayed: cause someone to feel concern and distress

Paramount: more important than anything else; supreme. Sage: a profoundly wise person; a person famed for wisdom. Someone venerated for the possession of wisdom, judgment, and experience. … Wise, judicious, or prudent: Diligence: careful and persistent work or effort.

Puru: King Puru was a Puranic king and the youngest son of king Yayati and Sharmishtha and one of ancestors of the Pandavas and Kauravas. King Puru married Kausalya and Janmajeya I is his son.

Act-V

The mango’s fresh spray of flowers: The Sanskrit word for a spray of flowers is manjari, in the feminine; hence the feminine pronoun in the next line, which refers to the singer Hamsavati whom he has loved and left; and it suggests the King’s love for another, Sakuntala, which is already forgotten.

Full -blown lotus: the lotus is described as vasati-matram, a one-night halt or mere stay overnight. In the Devanagari recension, the king’s reply to Madhyavya’s query reads differently- she taunts me with spending all my time with Queen Vasumati…’ implying that the King’s interest in the crowned queen is in the nature of an enforced overnight stop.

Hermitage: the dwelling of a hermit, especially when small and remote.

Act-VI

Jest: a thing said or done for amusement; a joke. Parabhritika: little cuckoo

Poised: having a composed and self-assured manner.

Dart: a small pointed missile that can be thrown or fired.

Hallucination: an experience involving the apparent perception of something not present.

Vultures: a large bird of prey with the head and neck more or less bare of feathers, feeding chiefly on carrion and reputed to gather with others in anticipation of the death of a sick or injured animal or person.

Vermin: wild animals that are believed to be harmful to crops, farm animals, or game, or which carry disease.

Season’s festival: The Spring Festival in honour of Kama, the god of love.

Act -VII

Indra: Lord of Mighty Storm

Asoka: an evergreen blooming in Spring; the compact clustres of bossomsvarybg in colour from pale orange to scarlet, depending on their age, cover the tree completely, the flowers have a delicate fragrance. The Asoka (a-soka) means sorrow-less is tree celebrated in myth and legend. The flower is one of the five flower-arrows of kama, god of love; sita the heroine of the epic Ramayana who was abducted by Ravana the demon king of Lanka, spent a year in his asoka grove, waiting in sorrow for Rama to come and rescue her. The tree was believed to bloom at the touch of the richly-jeweled left foot of a lovely young woman.

The lord of a Hundred Powers: Indra

Grove: a small wood or other group of trees.

Sakunta: a bird

Delusion: something that is falsely or delusively believed or propagated

ACT-WISE SUMMARY: ACT ONE – THE CHASE:

Shakuntala or The Recognition of Shakuntala or AbhijnanaShakuntalam is Kalidasa’s most popular play. The story of Shakuntala is a love story between Shakuntala and King Duhsanta. The story of Shakuntala begins with a Prologue. The Prologue consists of Benediction and a conversation between the director and an actress. Just as ritual was an integral part of Greek dramas rituals also a part of the ancient Indian plays.

The ‘Benediction’ is performed before the beginning of the play. The ‘Benediction’ is invocation to Lord Siva for. The eight forms of Lord Siva – Water, Fire, The Priest, Sun, Moon, Space, Earth and Air are glorified.

The director and the Actress talk about the play of the day. The readers are informed that a new play The Recognition of Shakuntalais going to be performed. The Actress performs a song on the present season – summer for the audience.

Accompanied by charioteer, king Duhsanta, holding a bow and arrow, enters the scene, in pursuit of a deer. The chariot picks up speed, and the king prepares to shoot, when suddenly an offstage voice warns him that the deer belongs to the hermitage and mustn’t be killed. vaikhanasa, a forest-dwelling ascetic, reminds the king that his job is to defend the oppressed, not to harm them. The king duly reins in the chariot and drops his weapon. In response to the King’s merciful action, pronounces a prophetic wish: “May you have a son / With all your virtues, / Destined to rule the world.” He urges the King to receive the hospitality of the nearby hermitage, which belongs to the great sage Kanva. The visit will make the King realize “how far your own bow-scarified arm / Reaches to give protection.”

Then explains that Kanva himself is not at home, because he has gone to appease

the gods on behalf of his daughter, Shakuntala, who’s been left behind to receive guests. As they drive toward the hermitage, King Dusyanta comments to his driver that it’s obvious they’re near the holy groves-the deer stroll unafraid, the trees are well tended, and the smoke of sacrificial ghee (clarified butter used in rituals) drifts by. When the chariot stops, the King removes his insignia and bow in order to look “modest and humble” before going in. As he enters the grounds, a vein throbs in his arm- an omen “presaging some woman’s charm. “Right away, the King sees some hermitage girls going to the sacred grove to water the trees. He hides himself in the shadows to observe the “charming sight.” It’s Shakuntala, with her two friends, Anasuya and Priyamvada. Shakuntala chats with her friends as they work, remarking that she loves these trees “like sisters.”

The first Act begins with the description of the summer season by the narrator (Sutradhara). He also introduces King Dushyanta. Then king Dushyanta chasing a deer, enters the ashram of the sage Kanva in his Chariot. The king aims at the deer but a monk restricts him to hunt since the deer belongs to the Hermitage. He also asked the King Duhsanta to withdraw his pointed arrow from the poor animal and also reminded him of his duty as a king to protect distressed soul. The King agreed to what he has been told. Then the monk invites the king to the ashram and Dushyanta enter the ashram.

The monk informs the king that sage Kanva is out for some days. Shakuntala accompanied by two companions, Priyamvada and Anusuya welcomes the royal guest. The king is surprised to see the beauty of Shakuntala.

A wasp has been hovering around Shakuntala for some time and she runs towards Dushyanta for safety. Dushyanta talks to Shakuntala and her companions. He comes to know that Shakuntala is the daughter of a Kshatriya, a warrior king turned a rishi, Vishwamitra. The king is informed that Shakuntala is the foster-child of sage Kanva. Just then an agitated elephant enters the ashram and Dushyanta orders his soldiers to take care of the animal. Shakuntala has also been suffering from the pangs of love. Cupid has done his work. Shakuntala leaves the place with her companions burning with a desire for Dushyanta.

ACT TWO – THE CONCEALMENT OF THE TELLING:

The king is seen as love-sick in this Act. He enters the stage with his companion and court jester Madhavya, the fool (Vidushaka). The fool is fed up with the business of hunting in the forest. The king forbids his general and soldiers to kill any animal and instructs them not to disturb the holy men. He confesses to the fool that he cannot live without Shakuntala. He asks the fool to manage his stay there for some more time.

Two ascetics, young ones arrive and request the king to protect their sacred fireplace Yajna Shala from the plundering of the demons (rakshas). The king happily agrees.

Before entering the hermitage, the King concealed his royal identity and entered the hermitage as a gentle civilian. There he was awe-struck to see Shakuntala. Shakuntala and her friends Anasuya and Priyamvada were engaged in nurturing the plants. Duhsanta hid behind the trees and started to watch Shakuntala’s mesmerizing beauty.

The physical beauty of Shakuntala is described even erotically at length. The girls imagine that the climbing of a feminine vine into masculine mango tree is deemed to be a marriage of vine and the mango tree. ThenKarabhaka, the royal messenger, brought a message from the Queen Mother, asked the King to be with her in the upcoming rituals fast “The Safeguarding of the Son’s Succession”. The King was in dilemma between his commitment to protect the grove and command his mother.

Finally Madhavya was delegated to take his place as a son and perform all the ritual duties at the ceremony, to which Madhavya agreed to perform. He also forbids Madhavya not to reveal this secret to his other queens in the town He decides to make Shakuntala his patrani, the queen of queens.

ACT THREE – LOVE’S FRUITION:

Shakuntala has so far spent her life amid the quiet, sylvan surroundings of the ashram but now her contact with a handsome young king has made her love-sick. She confessed in front of her friends, “From that instant I am pining for love of him.”She is seen lying on the bed of flowers, thinking of Dushyanta. She discusses the matter with her companions. Priyamvada asked Shakuntala to write a song that will convey her love to him. She wrote a little song and sang:

I do not know your heart, But my nights and days, O pitiless one! Are haunted by Love, As every part of me Yearns to be one with you.

Meanwhile Dushyanta is hiding in a groove listening to their confessions. Shakuntala confesses that Dushyanta can be her only mate in this world, and that she will not live without him. The king appears on the scene and declares his love for Shakuntala. The two companions leave the scene and the two lovers have an opportunity to know each other. The King proposes the enactment of the ‘gandharva’ marriage yet Shakuntala is reluctant. The king leaves the place to protect the ashram from the wrath of the demons.

ACT FOUR SHAKUNTALA’S DEPARTURE:

In Act IV, the ceremony of ‘Gandharva’ marriage is solemnized. After spending some time with Shakuntala Dushyanta leaves the ashram to look after his kingdom. He assures Shakuntala that he would send his men to fetch her to his capital. Since that day, Shakuntala has been feeling lonely and love sick. One day, she sits on the door of her hut. A great sage Durvasa, known for his anger, arrives and asks for alms but Shakuntala is lost in her thoughts. Durvasa felt offended and cursed her that he would forget his memory about her:

Though you goad his memory hard,

He shall fail to remember you,

Even as a man drunk remembers not,

Thereafter, the tale he told before.

Anasuya and Priyamvada were dismayed to hear that. Anasuya pleaded the sage to forgive her. The sage told her “My curse cannot prove false; but its power will cease the moment she present some ornament as a token of recognition.” Until he saw her ring he could not remember her. Both friends decided to keep that in secret. Her companion Priyamvada apologizes to the sage and asks him to help Shakuntala. The sage tells her that by showing any ornament of her lover to him, he will remember her. Priyamvada and Anusuya know about this curse and Shakuntala is unaware of all this. They know that the signet ring of Dushyanta is with Shakuntala. They assume that the presence of the signet ring will neutralize the impact of the curse. So they did not tell anyone about this.When sage Kanva returns from his pilgrimage, he hears a prophecy from the heavens about the marriage of Shakuntala with king Dushyanta.

He also learns that Shakuntala is pregnant. He peeps into the womb of future with his spiritual powers and sees the bright and illustrious career of the son of Shakuntala. He approves of this marriage.

On the other side, the curse of Durvasa shows its power. The king becomes oblivious of his relationship with Shakuntala and no one comes to the ashram to take Shakuntala. Shakuntala is pregnant and the sage makes necessary arrangements to send Shakuntala to her husband. Here Kalidasa provides a poignant description of the departure of Shakuntala when she bids adieu to her friends, deer, pets and even trees. Sage Kanya is deeply paied to see this but he gives elderly advice to Shakuntala. Priyanyada and Anasuya also felt sad at the thought of leaving their dearest friend, Shakuntala and suggested her to show Duhsanta the Ring that was inscribed with his name, in case he failed to recognize her. After that she tearfully left them and the Hermitage. Along with a woman Gautami and two ascetics, Shakuntala arrives the Kingdom of king Dushyanta.

Act IV of the play contains the most touching scenes. The act brings home the truth that separation is always melancholic. Accompanied by Goutami, Shargavara and Shardvata, Shakuntala is being sent by Kanva to Dushyanta’s palace at Hastinapura. She is bidding farewell to the plants, trees, birds and animals and to her hand maids, Anasuya and Priyambada whom she has so far treated as her own sisters and with whom she has lived without being separated even for a single moment in her life. Even sage Kanya is so overcome with emotion that his voice stagers. He is seen behaving as if he were a head of the household. It is in this act that Kalidasa has endowed the fawn (the young of the stag) Deegapanga and the wild jasmine plant, Vana Josna with sensations and emotions of human beings.

ACT FIVE THE REPUDIATION OF SHAKUNTALA:

Shakuntala is accompanied by two young ascetics Sharangray, and Sharadvat, and a woman Gautami. Kanva’s men with Shakuntala reached the King’s court. Shakuntala sensed a bad omen as her right eye started to tremble. The King failed to recognize veiled Shakuntala as Durvasa’s curse was in effect. Sharangrav tells the king about the previous development, and that Shakuntala is his wedded wife. The ascetics tell the king that sage Kanva has also approved of their ‘gandharva’ marriage, and so he has sent them to the king. But king Dushyanta is under the spell of the curse, so he fails to recognize Shakuntala.Gautami shows him the face of Shakuntala but he shows his helplessness. Now Shakuntala is reminded of the signet ring of Dushyanta but that ring is missing. On the way, the ring slips from her finger and falls into a river. The ascetics try their best to persuade the king but of no use.

Then Sharadvat said that it was Duhsanta’s choice whether to accept Shakuntala or leave her since “a husband’s dominion over his wife is absolute.” She felt betrayed as she was abandoned both by her husband.

At last the High Priest suggested Duhsanta that Shakuntala should be sheltered in his house till she gave birth. Since it was predicted that Duhsanta’s first-born son was destined to be the Sovereign of the World. If the child would bear all thee marks of a prince then he could accep: her and if not then she should be sent back to her father’s Hermitage. The King agreed.

The heart-broken Shakuntala called Mother Earth to open wide and take her in. She left the court with the High Priest. After some moment the High Priest told Duhsanta that a marvellous thing just happened, a flash of light in woman shape took Shakuntala away and suddenly disappeared. Actually, a celestial nymph Menaka (an apsara in the court of god Indra in heaven) comes from heavens and takes Shakuntala to the & skies.

ACT SIX-SEPARATION FROM SHAKUNTALA:

Two policemen caught a fisherman for hawking a Royal Signet-Ring with a priceless gem and King’s name engraved on it. The Chief of the City Police asked him how he got the ring. The fisherman told them that when he was cutting up the big carp, he found the ring in the belly of the carp. Januka, the policeman, threatened the fisherman that he would be dead soon, but the Chief of Police returned from the palace with a letter and ordered the two policemen to release the fisherman.

The King was flabbergasted to see the ring and according to the Chief of Police, the ring reminded the King someone very dear to him. The King ordered to reward fisherman, which would be equal in the ring’s value.One nymph (apsara) visits the palace to see the condition of Dushyanta. She is invisible and finds the king grief stricken. The two young female gardeners entered into garden and happy to see newly blossom mango. They were tossing the flower up in the air.

A Chamberlain entered and scolded them for plucking the mango buds when the King forbade the celebration of the Spring Festival. They asked the Chamberlain the reason for not celebrating the Spring Festival.

The Chamberlain told them that the festival had been cancelled since the King found the ring he once offered Shakuntala, he remembered that he really did marry her in secret and rejected her claim due to some strange lapse of memory. Celebration of the Spring Festival had been cancelled on account of King’s distraught state of mind. The King sent a message to his court that he was ill to preside that day in the courtly matters and went to the garden with Madhavya to divert his mind. In the midst of garden, the King Duhsanta remembered his first meeting with Shakuntala.

Madhavya asked the King Duhsanta how the ring entered the carp’s mouth. King told him that when she was worshiping the waters at Saci’s Pool, it fell off her finger. Then the King’s attendant, Caturika approached to them with a portrait of Shakuntala painted by the King Duhsanta. The portrait was half done therefore Duhsanta wanted to continue the painting.

He noticed a bee in the painting and commanded to go away. The King’s attendant entered with a letter in her hand, informed him that the Chief Minister wanted the King to know this matter.

King Duhsanta read the letter and got to know that Dhana-Vredhi, a wealthy merchant, was lost in a shipwreck. He was childless and had million worthy wealth. This struck the King badly and he realized “Childlessness is a misery”. He worried that the future of his own family would be same as there would be no one to continue the dynasty of Puru.

At that time, Madhavya cried for help. The Chamberlain came in agitation, explained that an evil spirit had seized Madhavya and carried him off. Duhsanta dashed to help his friend.

Just as Duhsanta was about to release his arrow anyway, Indra’s charioteer, Matali, came with Madhavya. Duhsanta welcomed Matali, Matali explained the reason of her arrival.Matali told that there was a race of Titans, the invincible brood of demon Kalanemi who would was destined to perish in the hands of Duhsanta. Dushyanta at once leaves for heaven to fight with the mighty demons and assist gods.

ACT SEVEN – SHAKUNTALA’S PROSPERITY:

After successfully defeating the demons, the King and Matali were returning to beauty of the earth below.

The king admired the The King noticed a range of mountains. Matali told him that the range of mountains was Hema-Kua, the home of Kimpurusas. The king wished to pay his respects to His Supreme Holiness, Marica. While Duhsanta was waiting, he saw a little boy who was followed by two hermit women. Seeing the little boy, he sensed that he was someone of his own. The first hermit lady praised the boy as Sarva-Damana.

When he inquired about his parents, he was told that the b oy’s mother was the daughter of an apsara and gave birth to him in that Hermitage. He came to know his mother was Shakuntala. Duhsanta picked the boy’s protective amulet up when his protective amulet fell off on the ground.

The two hermit women were shocked to see that nothing happened to the King since it had special power none except himself or his parents could safely pick that up, otherwise that person would transform into a serpent. The king finally was sure that the boy was his son.

Shakuntala came and both recognized each other. After the reunion, they went together to see Marica. Marica and his wife, Aditi blessed them.Marica revealed the account of Durvasa’s curse. Marica also told them their son would be “Sovereign of the World.” Marica sent one of his disciples, Galava, to tell Kanva the happy message that the curse had finally terminated and Shakuntala and Duhsantareunited. The play ended with the King’s prayer to His Divine Holiness to set him free from cycles of birth and death forever. The play the Abhigyan Shakuntalam is a testimony of the poetic genius of Kalidasa. He is also regarded as the best poet in Sanskrit language. Historical evidences show that Kalidasa lived in the first century B.C.

CHIEF CHARACTERS IN THE PLAY: SHAKUNTALA:

Shakuntala is the heroine of the play. A beautiful young woman, she is the daughter of a royal sage and the nymph Menaka, and the foster daughter of Kanva. She lives as an ascetic in Kanva’s hermitage, where she tends the sacred trees and loves them like sisters. When King Dusyanta visits the hermitage, she is instantly attracted to him and vice versa. However, she is shy and modestly conceals her feelings in his presence. When Dusyanta is to leave, she becomes gravely ill with longing. Her friends Anasuya and Priyamvada hatch a plan to convey Shakuntala’s feelings to Dusyanta, but he overhears a love poem she’s written, and they’re quickly married by common consent. She soon becomes pregnant with Dusyanta’s son, Sarvadamana. After Dusyanta returns to the capital, Shakuntala is distracted and accidentally incurs the curse of Durvasas, ensuring that when she joins Dusyanta in the capital, he fails to recognize her or to remember their marriage. Though she boldly defends herself against the King’s denial, it’s to no avail, and Shakuntala begs the earth to swallow her whole. Then she’s spirited away by nymphs to the celestial realm, Marica’s hermitage, where she gives birth and raises her son. When Dusyanta discovers her there six years later, she doesn’t recognize him at first, but they’re quickly reconciled and return to his capital together, along with their son.

King Dusynta is a descendant of the Puru lineage who reigns in northern India, with his capital at Hastinapura. He is the hero of the play. He is attentive to his royal duties, especially those of caring for the oppressed and protecting religious practitioners. At the beginning of the play, he visits Kanva’s hermitage and immediately falls in love with Shakuntala. When he learns that their feelings are mutual, he quickly marries her in secret. After his business at the hermitage is concluded, however, he must return to the capital, and Durvasas’s curse ensures that he forgets Shakuntala and the fact that they are married. Accordingly, when Shakuntala travels to the capital to join him, he rejects her, but he is uneasy about their encounter. After he sees the signet ring he’d given Shakuntala, breaking the curse, he is overwhelmed by remorse. A demon-fighting assignment from Indra’s charioteer, Matali, recalls him to his duties. When, six years later, he is rewarded with a visit to Marica’s celestial hermitage, he discovers his son, Sarvadamana, and is reconciled with Shakuntala.

KANVA:

Kanva is a great ascetic sage, head of the hermitage that’s the setting of the play’s first few acts, and Shakuntala’s beloved foster father. At the beginning of the play, he is absent from his hermitage because he’s trying to appease the gods on Shakuntala’s behalf. When he returns, he’s pleased to learn of his daughter’s good marriage and sends her to join King Dusyanta, accompanied by an escort of ascetics and seers.

KING DUSYANTA:

DURVASA:

Durvasa is actually a voice off-stage. He is a sage reputed for his violent temper and he is quick to curse in fury. He is hot-tempered sage who visits the hermitage, then places a curse on Shakuntala and King Dusyanta because Shakuntala, distracted by her new husband’s absence and her pregnancy, fails to welcome him with appropriate formality. Durvasas’s curse causes Dusyanta to forget Shakuntala and the fact that they’re married, with the exception that if the King sees a memento, such as his signet ring, the curse will be lifted.

MARICA:

Marica is the father of the god Indra and a divine sage, the head of the celestial hermitage to which Shakuntala was spirited away by nymphs and has since lived with her son, Sarvadamana. At the end of the play, he explains Durvasas’s curse to Shakuntala and King Dusyanta, blesses their family, and sends them to live together in the King’s court.

Minor Characters

Matali: Matali is the god Indra’s charioteer. He rouses King Dusyanta from depression by pretending to threaten Vidusaka’s life, then summons the King on an urgent demonfighting mission.

Anasuya: Anasuya is a friend of Shakuntala and Priyamvada and a fellow ascetic at Kanva’s hermitage. She is a faithful companion, protective of Shakuntala, and encourages her romance and marriage to King Dusyanta.

Priyamvada: Priyamvada is a friend of Shakuntala and Anasuya and a fellow ascetic at Kanva’s hermitage. She is a faithful companion, protective of Shakuntala, and encourages her romance and marriage to King Dusyanta.

Vidusaka : Vidusaka is King Dusyanta’s close companion, a good-humored, overweight brahmin. His humorous remarks provide comic relief throughout the play. Matali pretends to threaten his life in order to rouse the King out of his depression. Vaikhanasa: Vaikhanasa is an ascetic who lives in Kanva’s forest hermitage. At the beginning of the play, he stops King Dusyanta from killing a hermitage deer and then invites him to visit the hermitage. He also pronounces a prophetic blessing about the King’s future son, Sarvadamana.

Sanumati: Sanumati, a nymph, is a friend of Shakuntala’s mother, Menaka. She spies on King Dusyanta’s court, but she does not directly intervene in events, knowing that Menaka is working to bring about the King’s reunion with Shakuntala.

Menaka : Menaka is a nymph and is Shakuntala’s mother. She conceived Shakuntala when she was sent to test the self-restraint of a royal sage, who proved unable to resist her beauty.

Karabhaka: Karabhaka is a royal messenger whom the queen sends to King Dusyanta from the capital.

Gautami Gautami is the senior female ascetic at Kanva’s hermitage and accompanies Shakuntala to the capital.

Sarngarava : One of the ascetics at Kanva’s hermitage, who accompanies Shakuntala to the capital.

Caturika: Caturika is a maidservant in King Dusyanta’s court.

Lady Hamsapadika : Lady Hamsapadika is one of King Dusyanta’s consorts in the capital city. She sings a song that fills him with melancholy desire, although he can’t remember Shakuntala at the time.

Fisherman: The poor fisherman discovers Shakuntala’s lost ring in the belly of a fish, then gets arrested on suspicion of having stolen the ring from King Dusyanta. His story is quickly corroborated by the King, and he’s let go with an ample reward. Actor-Manager: The actor-manager introduces the play in the Prologue, inviting

a mood-setting song about summer romance.

the actress to sing Actress: In the Prologue, at the invitation of the actor-manager, the actress sings a song about summer romance to set the mood for the audience.

Chamberlain: The chamberlain serves at King Dusyanta’s court. From his observations, Sanumati learns about what’s happened between the King and Shakuntala.

Doorkeeper: The doorkeeper is a female attendant at King Dusyanta’s court.

Analysis of Abhijnanasakuntalam:

In the First Act, we see Dushyanta, the hero of the play once went out on a haunting expedition, accompanied by a large army. He became exhausted and came to the penance grove of Kanva in pursuit of some wild deer. He is then invited to receive such hospitalities as the Ashrama could offer. At that time sage Kanva is away, but his daughter Sakuntala is there, who would most surely look after the guest’s comfort. Here hospitality is in this state a duty. That is why Kanva takes special care to appoint Sakuntala in his absence to receive the guests. The king accepts the invitation and enters into the hermitage. There he finds three girls watering the flowering plants and shrubs. In this connection, he falls in love with Sakuntala who is one of them, the other two Anasuya and Priyamvada being her companions. In the meanwhile Sakuntala is also struck at the king’s appearance and readily falls in love with him. The king thinks of the possibility of his being a suitable husband for Sakuntala because a man of a higher class was allowed to marry, besides a girl of his own class (who alone could join him in the performance of religious duties), a girl of lower class or classes (of course at the risk of being degraded in the estimation of society). If she be of Brahmana origin, on both the sides, he could not marry her, marriage with a woman of the higher class being strictly forbidden. In the Second Act, at the time of her departure with her friends Sakuntala manifest her feelings towards the king, though with modesty. Having gone only a few steps, the slender one suddenly stopped, alleging that her foot was pricked by a blade of darbha, and she stood with her face turned towards me, pretending to disentangle her bark-garments, though it was not caught in the branches of trees. Here we can see that Sakuntala is so shameful, cultured, decent, sober and moderate that she canotexpress his inner feelings to her beloved directly. In this context, we find that by answering the questions of king Dushyanta is she always remain celibacy or until marriage? Priyamvada answers arya dharma caranepiparavasoyamjanah. It means even in the discharge of religious duties she is dependent upon another; what then in a matter of such great moment as leading a married life. Manu also declares that women cannot have independence of action under any circumstances. A woman has no liberty of action at any time. They are not freely or independently allowed to do anything as she wishes. There are certain social, religious taboos which operated as social sanctions. In the Third Act, we see Sakuntala looking at Priyamvada speaks halakimantahpuravirahaparyutsukakasyarajarseruparodhena means friend, why do you detain the royal sage, who is pining on account of his separation from the ladies of his harem? This proves that Sankutala in spite of her coyness is capable of looking after her own interests. Is it not natural that an unsophisticated mind may have misgivings about situations reports whereof are not encouraging? One born and brought up in the lap of nature is yet to be convinced of a warm response from someone who is a stranger to unostentatious habit of life. She is now affected by the malady of love, but still she told to king that though smitten with love, I am not the mistress of my person. I can give you my heart but it is my father who has the power to dispose of my person, not I Her modesty was so great that ever since the time when she felt herself invaded by a feeling which was strange to her in her hermit-life.

Act Wise

The protagonist kept it concealed even from her dearest friends, till her love affected condition and the entreaties of her friends forced her to reveal it to them. So far she presents an illusion of the Arvan female modesty. Though trouble by the arrows of cupid she showed a full sense of female honour. Her words paurabara ksavinavammadanasamtaptapinakhalvatmanahprabhavami” prove her lively sense of feminine dignity and respect for her elders. This raises her character immensely in our eyes Here we see Kalidasa’s wonderful insight into human nature. Then we see Dushyanta has married Sakuntala by the Gandharva form of marriage and has then left for the capital, having promised to send a suitable guard to take his bride to his place. Although it is heard that many daughters of royal sages are heard to have been married by the Gandharva form of marriage and they have received the approval of their fathers and i.e., also accepted by Manu, still the girls become anxious as to how the father will view the incidents that transpired in his absence? But Kanva congratulates Sakuntala with all his heart after knowing of her marriage. At this juncture, while Sakuntala is alone in the hermitage, her thoughts being away with her absent husband, she fails to offer proper hospitality to the choleric sage, Durvasa who came to the Ashrama as a guest. The hot-tempered sage curses her, “he of whom you are thinking, he would not remember you even when reminded by you”. One of Sakuntala’s companions, however, pleads Sakuntala’s absentmindedness and obtains from the sage forgiveness and concession in so far that, the curse would cease to have effect on the production of some token of recognition. The two companions say nothing about the curse to any one; they do not communicate it even to Sakuntala, as they thought it was not advisableto worry her with it, and especially as some token of recognition could easily by produced when the occasion needed it. One of hers friends Anasuya thinks how the king, having said those sweet things, has not sent even a letter during so long a time? or once in the company of ladies of the harem the king was likely to forget his new love (smarativanava). These feelings are natural for the part of a true friend. She has a sensitive kind of devotion to her welfare and an almost feverish desire to avoid causing her friend any unnecessary worry, either mental or physical. Now all are preparing to send Sakuntala to her lawful husband. Normally what happens? A friend presents a presentation to his friend at his marriage. Here we also see the two friends of Sakuntala, although they are not endowed with so many wealth still their friendship forced them to give some presentations at her friends marriage ceremony. Her two friends deposited a wreath of bakula flowers capable of lasting for a period of time retaining its odour in the casket of palm-leaves, hanging from the branch of the mango tree, cosmetics, such as mrigarochana (yellow orpiment), holy dust and tender durva grass. As we see the friendship or even sisterly affection between them is finely delineated.

We find this in Act IV. It means serve your elders, and act the part of a loving friend towards your co-wives; though wronged do not act in a refractory way towards your husband, in a fit of anger; be extremely polite towards your dependants, and not elated with pride in prosperity. Thus do young ladies attain the dignity of a house wife; those of an opposite character are a curse to the banes of their family. It embodies the noblest advice that could be ever given to a young woman on such an occasion when she is

joining her husband’s household. This was considered as the principal duty of a girl after marriage in ancient times. With such mentality a girl has to enter her in-law’s household. It is often referred by Bhasa in his plays. To abide entirely by the wishes of her husband and to be devoted to his well-being alone, is considered to be the highest duty of a Hindu women. There is an abiding faith in the institution of marriage as not just a private affair but as a sacrament, a mystic unifying force that builds society. From her parent’s perspective, the daughter is only a deposit guarded by the father to be made over to her husband at the proper time. Having sent Sakuntala to her husband’s house Kanva says my inward soul is now intensely serene as it is when a deposit is returned to its owner (pratyarpitanyasaivantaratma). When wedded to the king by the legal form of marriage, Sakuntala presents another interesting side of Hindu womanhood.

In Act V, she is openly discarded by the king as he does not remember having married her. So he regards her as another’s wife. To accept her as a wife, would be openly having connection with another’s wife and he would be guilty of being a kshetriya. One deserving punishment in the matter of another’s wife (i.e., one having a willful connection with her) an adulterer at that time. After hearing these, though for a time just angry with him, she does not in the least lose her affection for her Lord, and does not forget her duties as a married woman towards him. She leads an ascetic’s life during her separation, ever keeping the image of her beloved husband in her heart. Her patience is skillfully delineated here. She does not lose her courage at the King’s repudiation. Controlling her feelings, she politely and patiently tries her best to remind Dushyanta of the earlier incidents. She blames her misfortune for her failure and never utters a word against her husband. Only once and that too when Dushyanta passes a remark about her morals, and the morals of her family-she loses her tempers and calls her husband Anarya. Here, we see, she is endowed with a high sense of selfrespect, courage to suffer, heart to forgive etc. The use of the word avarod hastirodh Anerajadareshutadgruhe’ in this act shows that the custom of restricting the women to their inner apartments at that time. The mention of the veil is instructive from a historical point of view. It shows that women, at least high-caste ladies and women of the royal house-holdwere in those days in the habitof wearing a veil (perhaps the upper garment serving as a veil being drawn over the head so as to conceal the face) when going to public places. In the Sixth Act, the discovery of the ring paves the way for the re-union. From this act we get some idea of the law of inheritance prevailing in the days of Kalidasa. The Prime Minister, the noble Pisuna, sends the following report of a case which he refers to the king for decision:A sea-faring merchant named Dhanamitra has been lost in ship-wreck. He dies childless, and his immense property becomes by law forfeited to the king. Now the king’s reply is “As he had great riches, he must have several wives. Let inquiry be made. There may be a wife who is with child. And when he is told that one of his wives – the daughter of a merchant from Saketa is soon to become a mother, the king decides that the child shall receive the inheritance. The unborn child has a title to his father’s property. From this it seems that the widow could not inherit her husband’s property in those days; she was simply entitled to maintenance. In the Seventh Act, the king backs again in Indra’s car, his unexpected meeting with a refractory boy in the hermitage of Maricha, the search for

the amulet by which the boy is proved to be his son the meeting with Sakuntala who had neither combed her hair nor braided them atter separation (ekavenidharA) and the happy re-union of the lovers in the end. We see the union of the lovers in the first Act is romantic and the re union in the Seventh Act is spiritual.

STATUS OF WOMEN IN ABHIJNANASAKUNTALAM Abhimanasakuntalam is a marvellous work of the great poet and playwright Kalidasa, the brightest star in the firmament of Indian poetry. Kalidasa’s imagination holds in perfect fusion the two elements of natural beauty and human feelings. Out of three plays of Kalidasa, Abhijnanasakuntalam is generally regarded as a masterpiece, The word Abhijnana’ in the title signities ‘a token of recognition’ (here a ring), which is instrumental in bringing about the final recognition of Sakuntala by the king. It is a Nataka in Seven Acts, based on the love-story of King Dushyanta and the maiden Sakuntala. Social values form an important part of the culture of the society. Values account for the stability of social order. They provide the general guidelines for social conduct. Values such as fundamental rights, patriotism, respect for human dignity, rationality, sacrifice, individuality, equality, democracy etc. guide our behaviour in many ways. Values are the criteria people use in assessing their daily lives; arrange their priorities and choosing between alternative courses of action. There are SevenActs in Abhijnanasakuntalam. Each Act of Abhijnanasakuntalam reflects various social values of women which are more beneficial to human society and the present-day world. The present paper will try to shed some light on the various social values i.e., emotions, behaviour, attitude, feelings and experiences, mental states, the degree of patience, the quality of forgiveness, reaction to social situations, modesty and decency etc. of Women in Abhijnanasakuntalam. Abhijnanasakuntalam is a beautiful tale of love and romance, the name literally meaningofSakuntala who is recognized by a token’. Written by one of the greatest poets of India, Sakuntalam is synonymous with its author, Kalidasa. Abhijnanasakuntalam has an iconic status in the history of Indian literature and within the ideologies of nationalism and domesticity of nineteenth century elite Indian societies that drew from brahmanical social values and still continue to dominate lives and polities in contemporary India. Abhijnanasakuntalam is one of the best not only in Sanskrit literature, but in the literature of the world. The story was already in Mahabharata in the form of a dull narrative; but, Kalidasa turned the same into an elegant work of art with a lot of innovations. Love in union and love in separation are both depicted in this drama with a greater degree of perfection. The dramatic power and poetic beauty of this unique work have elicited the highest praise and admiration from the scholars all over the world. The play, Abhijnanasakuntalam, has been widely acclaimed as Kalidasa’s masterpiece. He is the brightest luminary in the firmament of Sanskrit literature. His play consists of Seven Acts, based on the love story of king Dushyanta and the maiden Sakuntala, as given in the ancient Indian epic, the Mahabharata. The various social values i.e., emotions, behaviour, attitude, feelings and experiences, mental states, the degree of patience, the quality of forgiveness, reaction to social situations, modesty and decency etc. of Women are reflected in the play Abhijnanasakuntalam.

From the above discussion, we come to understand that a man of a higher class was allowed to marry, besides a girl of his own class, a girl of lower class or classes (of course at the risk of being degraded in the estimation of society). If she be of Brahmin origin, on both the sides, he could not marry her, marriage with a woman of the higher class being strictly forbidden. It means caste system was there. Women cannot have independence of action under any circumstances. They are not freely or independently allowed to do anything as she wishes. There are certain social, religious taboos which operated as social sanctions. To abide entirely by the wishes of her husband and to be devoted to his wellbeing alone, is considered to be the highest duty of a Hindu women. There is an abiding faith in the institution of marriage as not just a private affair but as a sacrament, a mystic unifying force that builds the society. One deserving punishment in the matter of another’s wife (i.e., one having a wilful connection with her) an adulterer and the custom of restricting the women to their inner apartments are also found. The widow could not inherit her husband’s property in those days; she was simply entitled to maintenance. It shows that there is no more importance of women at the time of Kalidasa. Women are strictly restricted in every sphere to breathe an independent life. They are recognized as the oppressed class of the society and merely a puppet in the hands of male dominating society.

RASA THEORY IN ABHIJNANASAKUNTALAM

Kalidasa composed the poem during the fifth century mentioning every event that occurred in the life of Shakuntala, in this romantic play, Shakuntala and the Ring of Recollection. The play comprises characters from high caste society who communicate in Sanskrit and low caste society who communicate in Pratik. This play portrays the social structure of India during the rule of the Gupta dynasty. It is considered to be one of the masterpieces of Kalidasa as it has the perfect expression of the theory of rasa. The Rasa meaning flavour. However, in the play, it is defined as a strong human feeling or sentiment or emotions. The play is filled with rhythmic tones due to the use of poem in between the lines of the play.

The rasa in Sanskrit drama represents the nine-strong emotions called bhava. This nine fundamental bhav are the emotional feeling we feel in our daily lives which are love, joy, pity, anger, valor, terror, disgust, wonder, and peace. These are the elements which are expressed by the character in the play which has helped give meaning to this love poem and kept the reader’s connected to the plot until the end. These types of emotions can be found in most of the Indian literatures and acts as the foundation of most of the epic stories. For example, in the epic Indian literature ‘Ramayana’, Ravana kidnaps Sita, the wife of Ram because he fell in love with Sita when he went to take revenge for his sister Surpanakha (Ravana’s Sister). Here, we could see that the powerful king Ravana lust and seek for revenge acts as the rasa of the play which gives meaning to the story and makes it more interesting to learn about it. Similarly, ‘Mahabharata’ could be used as another example of the perfect composition of the rasa of the play which is filled with all the strong nine emotions.

Dushyanta and Shakuntala are the main characters of the play. Dushyanta is portrayed as a wise, young and kind king whereas, Shakuntala is portrayed as the young, innocent and beautiful woman. Dushyanta is from the powerful and rich family background whereas, Shakuntala is the nymph daughter. The jealous Lord of powerful sage Indra ordered beautiful nymph to distract the meditation Vishwamitra to stop him from getting more powerful. The background of this two characters are exactly opposite which makes story more interesting because in the old days, marriage of same caste and same social class was only permitted. This custom is still prevalent in India. However, the play shows the pure of Dushyanta towards Shakuntala. He falls in love at first sight with Shakuntala. His heart was not filled with lust. He didn’t care about her whereabouts but simply, loved her with all his heart. Blinded by love, he performs Gandharva marriage with her. This shows the action of love taken by King Dushyanta.

In Shakuntala, Kalidasa has perfectly balanced the nine rasas of Sanskrit literature throughout the story. At the beginning of the plot where we see the king entering the forest to hunt the antelope. Later, the buffoon also mentions that the king hunts for wild beasts every day which depicts the bravery of the king to portray him as the protagonist of the play. On the other hand, Shakuntala portrayed as a young and beautiful girl who has immense affection for living things. In the Hindu community, ascetics are treated with honor and respect. We can find many powerful ascetics roles in the epic Indian literature. Some of the famous wise ascetics’ names in Indian literature are Acharya Charak, Vishwamitra, Chanakya, Kanva etc. They are regarded as wise and powerful men and everyone follows their path and order. Similarly, in the Shakuntala play when ascetics tells King that the antelope belongs to the hermitage, King respects the words of ascetics and does not kill the antelope. This shows the soft corner of King which creates a positive image of King as a dharmic hero in the reader’s mind.

The play also represents conflict of duties and desire. In the play Shakuntala and the Ring of Recollection it has mentioned,

“King: My mind is split in two

By these conflicting duties,

Like a river current split

By boulders in its course. (Act II 240 ,pg 1007)”

Though the king wants to stay with Shakuntala and lead his life. His duties towards his people binds him and separates him from Shakuntala. Similarly, Shakuntala forgets her duty towards the sage Durvasa. Durvasa who feels disrespected and humiliated by Shakuntala places a curse on her. According to the curse, her lover will forget her and only with the symbol of love, the love between them will revive. Here, the duty, desire and anger of Durvasa plays as an important role of rasa for the plot of the story which makes people feel the emotions of pity for Shakuntala. The plot takes a different direction here and now shifts towards the concept of forgetfulness and desire of longing.

The King forgets Shakuntala because of the curse and Shakuntala loses the symbol of her love given by King Dushyanta. Her only hope to be recognized by King is shattered. The king humiliates her in the palace which breaks Shakuntala’s heart and leaves her in despair.

Shakuntala goes to live in heaven with her mother. Afterwards, Menaka sends her to hermitage and lives there. While in the palace, a fisherman brings the ring that Shakuntala lost and the king gains his memory of his love with Shakuntala back. In this part of the story, Kalidasa has tried to put the concept of Sanskrit word “smara” which means love and remembrance and has given a sense of conclusion to his story to the readers. We witness the reaction of plants and animals when Shakuntala prepares to leave the forest for Dushyanta house in AbhijnanaShakuntalam.

Treading the Line between Constraint and Freedom.” it says that the test of love in Kalidasa’s plays is in the ability to remember. I completely agree with this statement because the beauty of this story lies in the ability to remember. The final rasa of courage and joy is portrayed in the story when King goes to heaven to fight with deities who gives him the permission to reunite with Shakuntala. The final act of the story brings joy to every reader because the family get reunited. Not only, Dushyanta plays the role of a king but also fulfills his duty of being a father and a good husband.

The whole plot of the story runs with the concept of forgetfulness and desire to meet. This could be referred as the main rasa of the play. Like most of the Indian literature, the story of Shakuntala keeps readers intact with the play because of perfectly, blended rasa in the play. The readers get to feel happy for her love, sad for her curse, angry at king for not recognizing Shakuntala. Throughout the play, this romance comedy story is able to grab the emotions of readers from the emotions of characters. Kalidasa has maintained the push and pull effect of time and the memory and forgetfulness with the metaphor “looking back” which keep repeating in his plays adding perfect spice for reader to enjoy the story.

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