Abhijnanashakuntalam

- Kalidasa
Introduction
The word काव्य in sanskrit is popularly known as कवेः कर्म
काव्यम् (‘Poet’s work’). The Kavya is classified into two types,
viz., श्रव्य and दृश्य श्रव्यकाव्य is again classified into
three types as पद्य (verse) गद्य (prose) and चम्पू (a work
including both verse and prose). दृश्य is divided into two
types, viz., Rupakas and Uparupakas. Rupakas are of ten types
Nataka, Prakarana, Bana, Prahasana, Dima, Vyayoga,
Samavakara, Veethi, Anka and Ihamriga. Uparupakas are of
eighteen types – Natika, Trotaka, Goshti, Sattaka, Natyarasaka,
Prasthana, Ullapya, Kavya, Prenkhina, Rasaka, Sallapaka,
Shreegadita, Shilpaka, Vilasika, Durmallika, Prakarani, Hallisha
and Bhanika. The features of all these Rupakas and Uparupakas
are discussed in detail in Dasharupaka of Dhananjaya,
Natakalakshanaratnakasha of of Sharadatanaya, Sagaranandin,
Bhavaprakasha Natyadarpana of Hemachandra,
Sahityadarpana of Vishvanatha. Prataparudriyam of
Vidyanatha, कन्येषु नाटकं रम्यं is a popular saying. The
drama is an important branch of Sanskrit literature. Kalidasa in
the drama Malavikagnimitra praises the importance of dramas
as नाट्यं भिन्नरुचेर्जनस्य बहुधाप्येकं समाराधनम् । Drama
aelights the people having varied interests. Vamana points out
the importance of rupaka thus सन्दर्भेषु दशरूपकं श्रेयः ।
तद्धि चित्रपटविद्विशेषसाकल्यं ततोऽन्यभेदक्लृप्तिः
दशरूपकस्यैव§ हीदं विलसितम् । (1.3.30-32).

Rupaka is a general name given to all compositions. Though

nataka is a name given to a type of rupaka, all types of rupakas
are commonly called as “नाटक” in practise. The dramas are
delighting to mind by its attractive plot, charecterisation and
delineation of sentiments. Dramas exhibits the conflicts of life
and upholds the ideal principles through entertainment. It is
very difficult to trace the origin of dramas. Scholars have
expressed varied opinions regarding the origin and
development of these dramas. Here is a brief and general
introduction to the origin of dramas.

About Kalidasa and his works-

Kalidasa (flourished 5th century CE, India) was a Sanskrit poet

and dramatist, probably the greatest Indian writer of any epoch.
The six works identified as genuine are the
dramas Abhijnanashakuntala (“The Recognition of
Shakuntala”), Vikramorvashi (“Urvashi Won by Valour”),
and Malavikagnimitra (“Malavika and Agnimitra”); the epic
poems Raghuvamsha (“Dynasty of Raghu”)
and Kumarasambhava (“Birth of the War God”); and the lyric
“Meghaduta” (“Cloud Messenger”).

As with most classical Indian authors, little is known about

Kalidasa’s person or his historical relationships. His poems
suggest but nowhere declare that he was a Brahman (priest),
liberal yet committed to the orthodox Hindu worldview. His
name, literally “servant of Kali,” presumes that he was
a Shaivite (follower of the god Shiva, whose consort was Kali),
though occasionally he eulogizes other gods, notably Vishnu.

Abhijnana sakuntalam

Known as “The Recognition of Sakuntala” (via a token),

Abhijnanasakuntalam was the first Indian drama to be
translated into a Western language. William Jones was so
drawn to this masterful story of romance and passion that
he translated the play into English in 1789. This practice of
translating Kalidasa’s writings continues to this day. The
drama has characteristics of Maharashtri Prakrit, a Middle
Indian dialect, and was not written fully in Sanskrit. The
precise time period and chronology in which Kalidasa was
authored are unknown. This ambiguity stems from the lack
of historical proof regarding Kalidasa’s birthdate and the
fact that his lifetime spans from the second century BC to
the fourth century AD.

About the play:

The roots of the play are taken from the Indian epic
“Mahabharata” and several changes were made to derive
dramatic effects and they all worked. As a result, most
people consider the version of the origin of Bharata,
misfortunes of Sakuntala and the story of Dushyanta by
Kalidasa in Abhijnanasakuntalam is authentic. The plot
revolves around Sakuntala, the daughter of the great saint
Viswamithra and the heavenly damsel Menaka.
Viswamithra in order to gain great rewards gets into deep
meditation and the lord of heavens, Indra gets worried
about his predicament if the saint completes his
meditation. To save his position and be worshipped as the
one with no equal, Indra sends Menaka to lure
Viswamithra out of his contemplation to God.
After many efforts Menaka successfully disturbs the firm
mind of the saint and he falls in love with the beauty of
the damsel. As a result, Sakuntala (the name is given by
the sage Kanva) is born and Viswamithra realizes what he
has lost due to the union and rejects to be with Menaka
and Sakuntala. Menaka is forbidden to enter Heaven with
a human child so she leaves her daughter in a forest
knowing well that the forest is under the protection of
Kanva and he will take care of her. As expected by
Menaka, Kanva finds the baby girl surrounded by birds
called Shakunta, thus he names her as Sakuntala as she
was seen with the birds who seem to enjoy playing with
her. When the play Abhijnanasakuntalam opens, Sakuntala
is seen in her youth with graceful mind and body.

Prologue:

The play opens with a benediction to the gods and after

the benediction the director and actress are enter the
stage. The director introduces the name of the play as
Abhijnanasakuntalam and asks to treat the audience with
a song about the season summer. She sings so well that
the director is spellbound and forgets why he is on the
stage until she reminds the purpose of their appearance.
The prologue ends with the director mentioning about
failing of memory and relates it to the hunting Dushyanta.

Brief story of Abhijnana sakuntalam

Act-I or The Chase (Scene: The forest and

then hermitage):
Dushyanta, the king of Hasthinapura tries to capture a
deer and is seen on his chariot when a hermit intervenes
and warns that the place is under the protection. Of a
hermitage and any animal that enters the place shall not
be harmed. The King honours the words of the hermit and
withdraws his arrow and puts it back into the quiver. The
Hermit blesses the king with a boon to have a noble son
and asks him to visit the hermitage of Kanva. Dushyanta is
knowledgeable enough to know that a hermitage should
be entered with all the modesty; therefore he asks the
charioteer Suta to halt, removes all his jewels and Kingly
costumes to appear like a normal individual. As he takes
steps forward, he hears the sound of hermit girls and is
taken away by the beauty of them. So, he decides to hide
behind a tree and observe them.

Sakuntala, Priyamvada and Anasuya converse with each

other while a bee troubles Sakuntala and the admiring
Dushyanta is comes out from hiding to save her from the
foraging thief. At first, Sakuntala gets scared of seeing a
man who doesn’t belong to the hermitage and runs away.
Dushyanta reveals his true identity and is graciously
invited to the hermitage. Sakuntala falls in love with the
king as his delightful words and his face attract her very
much. Dushyanta gives his ring to Sakuntala as a token.
The King leaves the serene hermitage as the soldiers
approach with loud shouts.

Act-II or Concealment of the telling (Scene:

The Forest):

Madhavya, the court-jester and a close companion to

Dushyanta is seen complaining about his ill-fate having to
wander the forest and eat on everything he could get
instead of rejoicing in the palace. He tries to show his
frustrations when the king meets him; however,
Dushyanta consoles him and makes him to agree to help.
They conspire together so that Dushyanta can get as close
as possible to the beautiful Sakuntala. Dushyanta is
reminded of the fast done by his mother and the oath he
took to participate on the last day. At the crossroads,
unable to decide whether to fulfil the oath or carry on with
his heart’s renderings Dushyanta sends Madhavya to the
King’s palace as his younger brother so that he could get
closer to Sakuntala.
Act III or Love’s fruition (Scene: The

hermitage of Kanva):
The king couldn’t resist himself from returning to the
hermitage to see Sakuntala and as he enters speaking of
the charm Sakuntala possesses, she and her friends enter
talking in a flirtatious manner. He hides and watches them
as they speak in that manner and Sakuntala begins to sing
of love. Dushyanta comes out of hiding, unable to subdue
his heart’s cravings due to the influence of the poem. The
four of them talk and gradually Priyamvada and Anasuya
slip away leaving the pair in solitary independence. As
their hearts drizzle with thoughts of lover’s flirtations and
they get closer with each conversation, from a distance
the voice of Gautami is heard calling for Sakuntala. The
pair separate with regret and Sakuntala leaves with
Gautami whereas Dushyanta leaves to help the asceties
complete the evening prayers.
Act-IV or Sakuntala’s departure (Scene: The
hermitage of Kanva):

From the conversation of Anasuya and Priyamvada it is

revealed that Dushyanta and Sakuntala are married and
they talk of the king returning to his capital, perplexity
over fulfilling his promise to Sakuntala, Kanva’s reaction to
the union, etc. However, they conclude that everything
will go just right as they hear a voice announcing himself
at the hermitage while they’re picking flowers.

Knowing of the uncertain state of Sakuntala who is know

always thinking of Dushyanta hurry back to see if she has
properly received the guest.

The guest is Durvasa a great saint with intense anger. He

becomes frustrated to see Sakuntala not receiving him
properly and curses her as thus:
As Durvasa is very powerful there is nothing they could do
about the curse, instead they plead for consolation.
Durvasa says that the token of the king (the ring) would
enable him to remember who Sakuntala is and all the lost
memories will be restored. The scene shifts and Sakuntala
is shown preparing herself to leave to the Royal palace
with the hope to restore the memories of her husband and
make him aware of her pregnancy. Gautami helps her, so
do Anasuya and Priyamvada; meanwhile, Kanva enters
after completing his prayers with grief stricken heart as his
daughter leaving. Gautami, Saradvata and Sarngarava are
also ordered to go with Sakuntala and ensure she reaches
the Palace safely and the reunion is without any trouble.
Emotions flow through Kanva and every other individual in
the hermitage as she leaves. This act in
Abhijnanasakuntalam contains most unexpected events
from announcing of the marriage to the curse and
acceptance of the marriage by Kanva and Gautami.

Act V or The Repudiation of Sakuntala

(Scene: The Palace):

The King is seen with burdensome schedules and is weary

by performing his duties. Madhavya asks to listen to the
song and music played by her wife Hamsavati. The song
suggests subtly that she is being neglected and
Dushyanta feels a yearning in his heart but cannot
understand the reason for his heart to behave as such. At
this moment, the chamberlain announces the presence of
hermits from the hermitage of Kanva and Dushyanta asks
for them immediately by inviting them with proper Vedic
rites. After the reception, Sarngarava and Gautami remind
the king of the secret marriage between him and
Sakuntala but he cannot remember anything. Sakuntala
understanding the effects of the curse by Durvasa tries to
produce the ring on her hand and to her surprise the ring
won’t be in its place. Sakuntala shattered by the absence
of the ring stands in the palace without any proof, while
Gautami exclaims that she the ring might have slipped off
in the pool while she was washing her face. Dushyanta
accuses the hermits and Sakuntala, but the high priest
suggests seeing if there is any truth behind the story as
the people are from the hermitage of Kanva. Dushyanta
agrees to provide facilities in the palace till the child is
born so that the child could be examined and determined
which of the two parties is speaking the truth. However,
heartbroken Sakuntala asks the earth to take her and she
is taken away by light to the bewilderment of Dushyanta.

Act VI or Separation from Sakuntala (Scene:

Capital of Dushyanta & The Pleasure
Gardens):

Two policemen recognize the royal signet ring in

possession of a fisherman. The fisherman pleads that he
found the ring in a fish he caught lately. A police chief
goes to the king and submits the ring which disturbs him a
lot. The fisherman is given leave without any punishment
and further given compensation. However, Dushyanta
feels horribly sorry for himself and the way he treated
Sakuntala. By the time recognition of Sakuntala
(Abhijnanasakuntalam) by Dushyanta is fulfilled he has
absolutely no idea where she was taken and how to find
her.
Misrakesi, an apsara comes to check the situation in the
palace as requested by Menaka and she oversees things
invisibly. She finds out from maids that the king is in a
miserable condition and she relates the same predicament
to Sakuntala. Dushyanta expresses his grief to Madhavya
and the court-jester tries to console him.

Meanwhile, Chaturika brings the portrait of Sakuntala

which intensifies the grief of the king and the same he
feels terrible loneliness without his love. As the Queen
Vasumati is expected to make her presence in the
gardens, Dushyanta hands over the painting of Sakuntala
to him and asks to flee.

An attendant comes to Dushyanta and informs the Queen

has returned observing a note in his hand. The note is
about a wealthy merchant who unfortunately died in a
shipwreck and all his property is unclaimed. The King
orders to give the property to whichever wife is pregnant,
but decides against it as it is only fair to do justice to
everyone depending on the trade of the merchant. So, he
orders to share all the properties of the merchant to his
family and loved ones.

The thought of a pregnant wife disturbs him as he with

blindness turned out the one who was about to produce
the heir of his family and the future king of Hasthinapura.
As he laments his decision, he hears cries of anguish and
finds Madhavya is taken by a demon form. He chases the
demon and frees his friend only to find that the demon is
Matali who came to take Dushyanta to assist in battle
against demon Kalanemi. It is revealed that Matali
intentionally apprehended Madhavya to distract the King
from the misery. Both Matali and Dushyanta mount the
chariot as the act ends.
Act VII or Sakuntala’s prosperity (Scene:
Celestial regions & Hermitage of Maricha):

Dushyanta along with other warriors of Heaven vanquish

all the demons and he is seen returning with Matali. As
they travel through the path of Heavens, Dushyanta
expresses his desire to pay homage at the hermitage of
Maricha. Matali takes him to the hermitage and leaves the
king in the serene place. As the King contemplates on the
divine presence and tranquillity in the hermitage he hears
some voices and turns towards them to find an young boy
playing with lion cube, trying to open its mouth so that he
could count the number of teeth. He feels so related to the
boy that he goes and pampers him and the ascetics are
surprised to see that the boy also feels comfortable with
the stranger. The ascetic women realize the armlet of the
boy is missing and Dushyanta finds it where the boy was
wrestling the lion cub previously.

Maricha gives that armlet during the natal rites of the

child and it is charmed. Anyone apart from the parents or
the boy himself touches the armlet it turns into a snake
and bites them. The ascetics immediately recognize the
stranger as Dushyanta and the King in joyously confident
that the boy is his own and Sakuntala is in the hermitage.
Sakuntala and Dushyanta unite in tears and the King
explains how his memory got restored once he saw the
signet ring found by a fisherman. Maricha, Aditi and Matali
enter the scene and Maricha blesses the pair to live in
prosperity. Maricha states that their family needs no boon
as it includes a Father equal to Indra, Mother born of an
Apsara and son who can make demons run. The play
Abhijnanasakuntalam ends with the blissful reunion and
the family is seen to return to the palace of Dushyanta.

This version of Abhijnanasakuntalam by Kalidasa is

different from the one mentioned in the epic
“Mahabharata”; however, apart from the dramatic effects
and the dialogues the story reaches to its end in the same
way as that described in the epic poem Mahabharata.
Hence, many consider both the versions as authentic with
only difference being the description of characters by the
two poets.

Conclusion :
Abhijnana Shakuntalam is a touching story about love, identity, and
the challenges of fate. Kalidasa skillfully combines romance, drama,
and comedy, making it a timeless tale that speaks to people
everywhere. The play is a classic in Indian literature, known for its
beautiful language and deep themes.