Abhijnanasakuntalam

{Recognition of Sakuntala}
The theme of memory
 Introduction
Who actually is
Shakuntala? And does
finding her merely
1. The sly play of forgetting and remembering, losing identity and the crises of finding it, refers to her
manifests itself in the very title of Kalidas’ play Abhijnanasakuntalam, translating directly as recognition by
‘the recognition of Shakuntala’. Dushyanta? Is
2. The concept of the ring as the medium of recollection is a major departure from the story of Shakuntala lost in the
Sakuntala as narrated in the Mahabharata. Considering the contemporary perspective of green world where she
writings on love, the play of memory comes up as an important part in the play’s construction belongs, or is it that
of eroticism. her worth being
3. Through exploring the theme of memory, we also try to show that recollection and recognition evaluated on the basis
are disparate (though interconnected), in analytical senses. The disconnected events of her future son the
occurring at different points in the text proposes that their separation is important both in reason behind her
dramatic and ideational aspects.
getting lost?
 Act-wise Analysis

Prologue Act 1 and 2

Vague hints made towards the theme of Likewise, in Act 1 ‘The Chase’, we notice
memory are present since the very how Sakuntala and Duhsanta do meet
beginning, that is, even in the prologue but are constantly trapped in the
where we can observe that the Nati’s thoughts of each other. In Act 2,
song and the web of beauty woven by ‘Concealment of the Telling’, Madhavya
her mesmerizes Sutradhara
the till the successfully notices the king’s longing
extent where he actually forgets about and his fixation to the memory of
the play. Sakuntala.
 Act 3: ‘Love’s Fruition’
As we move further to Act 3, the foreshadowing of memory occurs twice:
● In the beginning of this act, Sakuntala is forced by her friends Anusuya and
Priyamvada to share what agonizes her. At this she conveys the following dialogue:
“My friends, if you approve, counsel me as to how I can find favour in the eyes of
the Royal Sage; otherwise, I shall be just a memory.” She is anxious whether the
king reciprocates her feelings or not and is also afraid of being forgotten by him.
● The second mention is when she was hiding behind the branches in order to get an
insight of the king's thoughts. At that time she wonders whether she was capable
enough to impress the king to make a mark in his heart. She was thinking whether
her efforts to make an impact on the King's memory was enough or not. The
recurring mention of memory shows the indication of something wrong that is
going to happen to the memory of the King.elings
 Act 4: ‘Sakuntala’s Departure’
The Prelude of this act poses central attention.

● The prelude of this act is of grave importance. The foreshadowing of forgetting

comes down as an impending curse.
● However, it begins with yet another supposition from Anasuya. Her dialogue goes
as follows: “The Royal Sage has been given leave to depart by the sages grateful
for the successful completion of the sacrifice; and he has returned to the capital.
Now, in the company of his Queens, will he remember all that happened in the
Hermitage…or will he not?”
● The vital incident occurs when Sakuntala, lost in pining for her beloved, fails to
notice sage Durvasa who in turn curses her that her lover (more specifically, the
person she was thinking of) will not remember her.
● Anasuya’s attempt at repenting and asking for forgiveness provides her with the
one way of ceasing the curse. A token of recognition. Primyavada remembers that
the Royal sage gave the signet ring to Shakuntala. Yet the knowledge of the curse
is kept from their friend.
● The pupil in the act also provides us glimpses about the grief of the woman who is
left behind by her beloved.
● During the departure of Shakuntala her friends give her a hint that if the king gets
slow to recognize her, she should show him the ring. Through this, Shakuntala
senses misfortune.
 Act 5: ‘The Repudiation of Sakuntala

• In the prologue of Act 5, through what goes on in the palace, it is conveyed to the audience that the
curse of Durvasa has started working.
• The Chamberlain forgets what message he has to convey to the king Duhsanta. And kalidasa
explains his forgetfulness, citing his 'old age’.
• When Duhsanta and Madhavya are conversing and Hamsavati's song is heard in the background,
although it is Hamsavati's own plight, her song commentates upon the transformation that is taking
place in Duhsanta regarding Sakuntala.
• Romila Thapar in her 'Revisiting Abhijanasakuntalam', analyses," Music is the art form first chosen in
the play as the vehicle for memory as well as the cause of forgetting." As was seen in the prelude of
Sutradhar had forgotten the title of the play after the
the play, the Nati's song.
• Duhsanta fails to recognise Shakuntala resulting in Shakuntala's state of panic. As her friends had
suggested her to do, she reaches out to present the ring with his name inscribed on it. But the ring
had vanished and failed as the reliable 'token' of memory's reinstating.
• Throughout this forgetfulness and betrayal of the token of recognition, the theme of memory collided
with the theme of 'Ideals of kinship' and that of 'love'. Duhsanta felt a 'poignant ache' at Shakuntala's
sight but could not accept her for she was pregnant and he had no recollection of marrying her, as
Thapar elaborates in her analysis.
 "Once you lovingly kissed,
The mango's fresh spray of flowers,
Is she then forgotten so soon?”
-Queen Hamsavati

{Kalidasa: ‘Abhijnanasakuntalam’, Act 5 ‘The

Repudiation of Sakuntala’}
 Act 6: ‘Separation from Sakuntala’
Finally, the chase of memory sees a termination in this act, with Dusanta realizing what he had been
missing.
● The signet ring shows up after all this time, bringing with it the king’s lost memory. Hereto lost in a
conflict of longing and confusion, the chief notices the king's reaction that he remembered someone
he had loved very much.
● Duhsanta weeps in recollection. Even though it is spring, his beloved isn’t here with him. Also, his
actions of tormenting her by refusing to recognize her and his words of malice come rolling back to
him, which further bring tears to his eyes.
● The painting in front of Dusanta brings back to him all the memories of Shakuntala. He then notices
that some elements in it are missing! He even possesses the memory of each and every ornament she
used to wear and adds it to the painting,when sometime back he could not even recognise her.
● He also, in the painting, sees a honey bee and looking at it drinking honey, he remembers how tender
and beautiful Shakuntala's lips were; how he made love to her and even warns the honey bee to dare
not bite her beloved's lips.rolling
 Act 7: ‘Prosperity of Sakuntala

● The theme of memory draws a complete circle in the last act of Abhijnanasakuntalam. It is clearly seen that Duhsanta
has finally remembered Sakuntala by the end but he fails to reunite with her.
● In the beginning of the act itself, he is seen to be returning with Matali back to the mortal world via the aerial path when
Matali and Duhsanta decided to stop at the hermitage of Marica. Here when Matali leaves Duhsanta alone for a few
moments, Duhsanta comes across a boy with a lady.
● It can be said in a way that despite the recollection of the memory, upon seeing that boy who was his own son (though he
was unaware of it), he feels a connection, as if he knew the little boy from somewhere.
● Maybe it was an unknown memory formed inside his head which made him feel that connection. It was later when he
really discovered after he picked up the boy's amulet that he was in fact Duhsanta's own son and therefore meets
Sakuntala again that the theme of memory completes itself.
● There was no more memory left to be dwelled upon or no more to be forgotten when he finally meets Sakuntala again
and describes how he was able to remember her, when he was presented with the ring. It was then later that both of
them were finally made aware of the Durvasa's curse on Sakuntala which made the king forget her and also satisfied her
that it wasn't his choice.
Conclusion
● The foreshadowing of the theme of memory is repeatedly seen in the play but when it comes
towards the last act, it is the recognition of Sakuntala that everything links together.
● It was remarkable, the way Kalidasa had been able to bring out the play of memory
repeatedly in several places with subtleness, not disrupting the pace of his work. Even in the
prologue itself. And the ability to keep the readers on edge with the anticipation of the
impending. It more intriguing to see how the significance of a simple ring brought together a
complete play. It was the ring itself over which the theme of memory is based off.
● The reason why the theme of memory comes full circle in the end is not only because of
Duhsanta finally recognizing and meeting Sakuntala, but also she herself who is able to
reunite with the king, reminded about who the actual king Duhsanta was, the one whom she
loved.
● Memory plays as one of the most pressing and vital themes, apart from the rasas that had
been invoked and the love plot. Because if it hadn't been for the theme of memory, the
repudiation of Sakuntala by Duhsanta would have kept him in a bad light and also the
consolidation of their love too was due to this theme of memory, that Duhsanta was able to
'recognise' the true sakuntala. Duhsanta and Sakuntala might've never recognized each other
by the end if it hadn't been for the ring, which was in fact what everyone who read the play
waited for.
 THANK YOU
Credits:
Simran khalxo
Hiba
Chetna Nehra
Sakshi
Tarana Bansal
Ishita Chauhan
Reha Rachael