QUESTION : Critically comment on the prologue of shakuntala

Shakuntala, also known as Abhijnanasakuntalam, is a classical Sanskrit play written by the ancient
Indian playwright Kalidasa. The prologue of Shakuntala sets the stage for the narrative and
introduces key elements of the story. Here are some critical comments on the prologue:

1. Artistic Excellence: Kalidasa's prologue showcases his poetic brilliance and mastery of the
Sanskrit language. The verses are rich in imagery and metaphor, creating an aesthetically
pleasing introduction that captures the attention of the audience.

2. Invocation of the Muse: The prologue begins with an invocation to the muse, a traditional
literary device where the poet seeks inspiration from divine sources. This reflects the
influence of Greek and Roman literary traditions on Kalidasa, showcasing the
interconnectedness of ancient cultures.

3. Cultural Context: The prologue provides insights into the cultural and religious context of
ancient India. References to gods, celestial beings, and the importance of dharma (duty)
highlight the spiritual and moral values of the time.

4. Foreshadowing: Kalidasa skillfully employs foreshadowing in the prologue, hinting at the

events that will unfold in the play. This technique creates anticipation and engages the
audience by planting seeds of curiosity about the characters and their destinies.

5. Connection with Nature: The prologue often incorporates elements of nature, drawing
parallels between natural phenomena and human experiences. This connection reflects the
broader theme of the interconnectedness of all living things, a recurring motif in classical
Indian literature.
6. Epic Influences: There are echoes of epic traditions in the prologue, with references to
characters like Dushyanta and Shakuntala. This connects the play to broader mythological
narratives and adds layers of meaning for audiences familiar with these epics.

7. Reflection of Society: The prologue indirectly reflects the social norms and values of ancient
India. The emphasis on duty, virtue, and the consequences of straying from the righteous
path suggests a society that placed significant importance on moral conduct.

8. Emotional Tone: The prologue sets an emotional tone, invoking a range of sentiments such
as love, sorrow, and joy. This emotional depth is a hallmark of Kalidasa's writing, allowing the
audience to connect with the characters on a profound level.

In conclusion, the prologue of Shakuntala serves as a masterfully crafted introduction that combines
poetic excellence, cultural richness, and thematic depth. Kalidasa's ability to weave together various
elements contributes to the enduring appeal of this classical work in Indian literature.

QUESTION: Distinguish between the Shakuntala episode in the mahabharata and the play
Abhijnanashakuntalam

The story of Shakuntala appears both in the Mahabharata, an ancient Indian epic, and as the central
narrative in the play "Abhijnanasakuntalam" written by the renowned Sanskrit poet Kalidasa. While
the core plot remains the same, there are significant differences in the treatment, emphasis, and
details between the two versions.
**1. Authorship and Literary Style:

 Mahabharata: The Shakuntala episode in the Mahabharata is part of an epic poem

attributed to the sage Vyasa. The Mahabharata, as an epic, has a more narrative and didactic
style.

 Abhijnanasakuntalam: This play is entirely the creation of Kalidasa, who was known for his
exquisite poetic style. The play is highly lyrical, with a focus on emotions and aesthetics.

**2. Emphasis on Romance:

 Mahabharata: In the Mahabharata, the Shakuntala episode is embedded within the larger
epic, and the emphasis is not solely on the romantic aspect between King Dushyanta and
Shakuntala.

 Abhijnanasakuntalam: Kalidasa's play elevates the romantic relationship between Dushyanta

and Shakuntala to a central theme. The play delves deeply into the emotional nuances of
love and separation.

**3. Characterization:

 Mahabharata: Characters in the Mahabharata, including Shakuntala, are part of a vast array
of personalities and events. Shakuntala's character is developed within the broader context
of the epic's narrative.

 Abhijnanasakuntalam: Kalidasa's play gives more individuality to characters like Shakuntala,

Dushyanta, and others. There's a heightened focus on their personal experiences and
emotions.

**4. Role of Other Characters:

 Mahabharata: The Shakuntala episode in the Mahabharata involves various characters and
events beyond the love story, connecting it to the larger epic's themes.

 Abhijnanasakuntalam: Kalidasa streamlines the narrative, placing greater emphasis on the

main characters and their interactions. The play is more narrowly focused on the romance
and its consequences.

**5. Artistic and Aesthetic Elements:

 Mahabharata: The Mahabharata, being an epic, is more concerned with conveying moral
and philosophical lessons. The poetic beauty is present, but it serves broader narrative
purposes.

 Abhijnanasakuntalam: Kalidasa's play is renowned for its artistic elegance and aesthetic
beauty. The language, metaphors, and descriptions are crafted with a poetic finesse that
enhances the emotional impact of the story.

**6. Ending and Resolution:

 Mahabharata: The Shakuntala episode in the Mahabharata is resolved, but it is part of a

much larger narrative that continues beyond this episode.

 Abhijnanasakuntalam: Kalidasa provides a more elaborative and emotionally resonant

resolution to the story within the confines of the play.
In summary, while the core narrative of Shakuntala and Dushyanta remains consistent, the
Mahabharata and Kalidasa's "Abhijnanasakuntalam" differ significantly in their treatment of the
story, focusing on different aspects and employing distinct literary styles to convey the tale.

Deciphering Shakuntala: Mahabharata v/s Kalidasa

This article unfolds the legendary tale of the elegant yet free-spirited and tenacious Shakuntala, who
was the daughter of sage Vishwamitra and the beautiful Apsara, Menaka. This primeval saga prevails
in Vyasa’s Mahabharata, from which Kalidasa took his inspiration. Interestingly, the Kalidasa version
is more popular worldwide than the original one, and surprisingly, Vyasa’s Shakuntala is drastically
different from that of Kalidasa.

Shakuntala Patra Lekhan by THL India

Mahabharata's Strong, Independent and Fearless Shakuntala

In the epic, the founder of the Puru dynasty and the noble King of Hastinapur- King Dushyanta, first
encounters Shakuntala while hunting in the forest with his army, chasing a deer injured by his arrow.
On his pursuit, he spots a hermitage and finds the stag being nursed by a beguiling maiden. On
seeing him, she introduces herself as Shakuntala, daughter of sage Kanva.

On Dushyanta's astonishment about her being the daughter of the great ascetic Kanva, Shakuntala
tells how Kanva became her foster father after her parents abandoned her in the forest. While
revealing her birth identity, Shakuntala shows no hint of discomfort. Smitten by her alluring beauty
and endearment, Dushyanta immediately makes a marriage proposal to her. Shakuntala reciprocates
his feelings but wishes to wait for her adoptive father to return. However, Dushyanta convinces her
to marry him according to Gandharva tradition, which is purely based on love and mutual consent.
Shakuntala agrees to it only if he promises that the son born from their union will be the heir to his
throne. Here we can see the sensible and practical side of Shakuntala, who commands a significant
pledge from the King. After their wedding, Dushyanta leaves for the kingdom to fulfill his duties
promising her to return.

Soon, Shakuntala gives birth to a boy named Bharata. As the years pass, Dushyanta makes no move
to claim his wife and son. So Kanva sends them to the court to remind him of his promise and duty
towards his family. In the court, the King pretends to have met Shakuntala for the first time and
questions her character on the basis of her parentage. He insults her, saying that her father, Sage
Vishwamitra was a failed ascetic who couldn't control his desires when encountering the beautiful
heavenly nymph, Menaka. He further says that women like her have a devious mind who perform
cheap tricks to entangle men and thus, firmly refuses to accept her.

When Shakuntala realizes that Dushyanta has no intention of keeping his promise, she lashes out
with controlled fury. She strongly rebukes him for abandoning his family. One can imagine Shakuntala
with her head held high, and her eyes flashing when she answers the king's comments about her
untrustworthy character and her parentage. She says that her birth is far superior to his since kings
walk on the earth, but she, with celestial blood in her veins, can wander through the sky. There is a
great deal of scorn in her words when she tells the King that he sees the faults of others that are as
tiny as mustard seeds while he is blind to his mistakes that are as big as bilva fruits. She even goes to
the extent of threatening Dushyanta that no matter what happens, her son shall occupy his throne.

Finally, as Shakuntala is about to storm out of the court, a heavenly voice commands Dushyanta to
accept her and Bharata because she had spoken the truth and even the Gods could not ignore her
words. Now, Dushyanta confesses that he had indeed recognized Shakuntala but was afraid that
society would be suspicious of Bharata’s claim to the throne. Thus, in his defense, he had no option
but to abandon them. Dushyanta then honors Shakuntala and Bharat and also forgives his wife for
her "terrible comments".

In the epic, Shakuntala is depicted as a strong, confident, and independent woman capable of
defending herself. She is fearless enough to demand a secure future for herself and her child even
before she commits herself to the eternal bond of marriage. Dushyanta’s cynical attitude towards
Shakuntala in his court proves that he was a selfish man. Though the claims of societal pressure seem
to be the explanation of why he never sent for Shakuntala in the first place, we see that the great
King Dushyanta was humanly flawed. He didn’t even think once before tearing apart the reputation
and character of his wife in front of his courtiers. However, Mahabharata’s Shakuntala proved to be
self-sufficient in protecting her and her son’s identity. Her strong statements about the future
repercussions of the King’s actions not only shook the entire court but the heavens as well. Thus,
Shakuntala single-handedly claimed what was rightfully hers.

Kalidasa’s version of Shakuntala, on the contrary, is poles apart.

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Kalidasa's Naive and Innocent Shakuntala

King Dushyanta and Shakuntala

The same episode is transformed by Kalidasa. In his version, Shakuntala is portrayed as the epitome
of beauty, patience, and virtue, who constantly needs others to protect and defend her. He took the
basic outline of Vyasa's Shakuntala and added heavy doses of romanticism to the tale.
In Kalidasa's play, Dushyanta first sees Shakuntala caressing her pet deer that Dushyanta had shot.
The compassion with which she nurses the animal touches Dushyanta's heart, and he falls for her. In
Kanva's hermitage, he is informed about the entire story of Shakuntala's birth by her dear friends.
Gradually, the love birds get married with the permission of Sage Kanva (as opposed to the
Gandharva marriage in Mahabharata). Before leaving Shakuntala, Dushyanta gives her his ring and
promises to return.

After Dushyanta leaves Shakuntala, she pines for him all day. Engrossed in his thoughts, she forgets to
honor sage Durvasa, who visits the hermitage. The short-tempered sage feels insulted and curses
Shakuntala that the person she is thinking of will forget her. The people in the ashram hear his
terrible words and intercede on her behalf. Although Durvasa could not take back the curse, he
modifies it by granting that when Shakuntala shows a memento, Dushyanta will recognize her.

Soon Shakuntala realizes that she’ll soon become a mother and hence, decides to go to the capital to
meet him with her father and other people of her hermitage. On the way, Shakuntala loses
Dushyant's ring while crossing a river, and a fish swallows it. When Shakuntala arrives at the palace,
the King does not recognize her and demands her to prove her identity. She reminds him about the
time he had spent with her in the forest, but he couldn't remember anything. He does feel drawn
towards her, but due to unnatural forces in play, he is helpless.

Ashamed to return to her father's ashram, Shakuntala starts living alone in another part of the forest
where she gives birth to a son, Bharata. After a few years, a fisherman brings a royal ring to the king's
palace and informs that he found it in the stomach of a fish. As soon as the king sees the ring, the
curse gets broken, and he remembers Shakuntala. He hurries to the forest, where he finds Bharata
and learns from him that he is indeed his son, and finally, the family reunites.

Kalidasa’s Shakuntala shares a strong resemblance with Ramayana’s Sita. He softened her character,
where she rarely speaks for herself and humbly accepts the king’s rejection. Shakuntala is shown as a
victim of the mysterious powers which govern the lives of the people. She has been used as a patsy
to personify humanity as a whole which is subjected to the grand mechanism of this universe. In the
play, nobody can be blamed for what happened, whereas, in the epic, Dushyanta appears to be the
guilty one clearly.
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Shakuntala: More than just a Beauty

Shakuntala and her friends. Chromolithograph by R. Varma.

In both versions, we see how women remain questionable for their actions and are character
assassinated in society in general. They remain pivotal in maintaining family ties and unity at any
personal cost whereas men rarely bear responsibility for their actions. While Mahabharat’s
Shakuntala is strong enough to demand her right, Kalidasa’s Shakuntala fights her battle quietly and
patiently, considering herself to be a toy in the hands of destiny. Both versions mirror contemporary
society in their own way.

From this, we see, Shakuntala is not a mere beauty but a pillar of strength and patience also. I think,
people of the modern generation after reading both Vyasa’s and Kalidasa’s Shakuntala will not only
remember her for her beauty or submissiveness, but also for her strength in battling societal
pressure. Shakuntala symbolizes a majority of modern Indian women and being a reader, you would
have felt a strong connection with her persona

EPIC AND DRAMA

Shakuntala’s narrative is described at length in the epic Mahabharata under the section
‘Sakuntalopakhyana’ from the Adi Parva or the “Book of the Beginning”. It is recounted as one among
the many ancestral legends of the Puru lineage by Vaisampayana to Janamejaya on the occasion of a
sacrificial ritual. The Original Story of Shakuntala from the Epic Mahabharata This narrative is focused
on discovering who the Bharatas were. The answer is - they were descendants of Bharata, born of
Shakuntala and Duhsanta (a Paurava king). The focus of the narrative is on Duhsanta and the
significance of Shakuntala is limited to her son who would be the prospective heir to Duhsanta’s
throne. In the epic, Duhsanta is projected as the “triumphant king” who is the “equal of Indra, slayer
of foes, warder-off of enemy elephants, they thought of him as the Thunderbolt-Wielder himself”
(Buitenen 57). The story in the epic goes as follows. King Duhsanta while pursuing a deer enters “the
depths of forest” and chances upon a holy hermitage that appears to him as “Indira’s paradise”. Here
“no tree lacked bloom or fruit” and “no tree was thorny”. The wilderness was an idyllic picture.
Duhsanta reaches the sanctum of the ascetic Kanva Kasyapa to pay his respects. But there instead of
Kanva he finds his adopted daughter Shakuntala. Duhsanta is immediately smitten by the beauty of
the maiden. He … saw that she had beautiful hips, a lustrous appearance, and a charming smile. She
was radiant with beauty, with the sheen of austerities and the calm of self-restraint. (161) He then
asks her about her parentage. Shakuntala narrates the story of her birth as she heard it from Kanva
once upon a time. She is the daughter of an apsara, Menaka and the austere ascetic Vishwamitra. On
birth, Menaka abandons her and goes back to the realm of the gods, to Indra. Shakuntala according
to her own narrative is then found by the saint Kanva. Having heard her tale King Duhsanta reaffirms
that Shakuntala couldn’t have been an ordinary maiden. He coaxes her to enter into a Gandharva
marriage with him, a marriage “done in secret” with rituals “between a loving man and a loving
woman”. Shakuntala agrees on one condition—she asks the King to promise that the son that may be
“born from me shall be Young King to succeed you, great King, declare this to me as the truth! If it is
to be thus, Duhsanta, you may lie with me”. He agrees and the two consummate their marriage.
Thereafter, the king returns to court. Shakuntala in the following year gives birth to a son at saint
Kanva’s hermitage. The child “radiant like a blazing fire” grows up in the hermitage for six years—he
“would fetter lions and tigers” to the trees around the hermitage. Watching his “superhuman
exploits” Kanva decides to send him to the King’s palace with Shakuntala. At the King’s palace,
Duhsanta refuses to acknowledge Shakuntala, calling her an “evil ascetic”. Shakuntala “stunned with
grief” pleads her case emphasising the importance of a son for the king – she says “a son is a putra
because he saves his father from the hell named Put” and calls herself the dutiful wife, stating that
“she is a wife who is handy in the house, she is a wife who bears children, she is a wife whose life is
her husband” (167). Duhsanta humiliates Shakuntala in the following way: I do not know that this is
my son you have born, Shakuntala. Women are liars—who will trust your word? Menaka, your
mother, was a merciless slut who cast you off like a faded garland on a peak of the Himalayas!
Visvamitra, your merciless father, who born a baron, reached for brahminhood, was a lecher! (168)
17 Shakuntala hears out Duhsanta, points out his forgetfulness and describes her higher lineage—
“My birth is higher than yours Duhsanta! You walk on earth, great king, but I fly the skies”. She finally,
comes back to the issue of her son and warns Duhsanta – ‘‘The ancestors call a son the foundation of
family, and lineage, the highest of all merits of Law—therefore one should never abandon a son”
(168). Having said all this, Shakuntala departs and a celestial voice warns Duhsanta of his wrong
deed. At this, Duhsanta changes his stance suggesting – ‘‘I myself knew very well he was my son. But
if I had taken him as my son on her word alone, suspicion would have been rife among the people
and he would never have been cleared of it.” (169) Therefore, Duhsanta suggests, that he has to play
the fraudulent game of rebuking her. With this, Duhsanta accepts his son and Shakuntala and brings
them both to the court declaring the latter the young King.

Critically comment on Kalidasa's use of different languages to represent characters from different
social strata in Abhijnanashakuntalam.
Kalidasa's "Abhijnanashakuntalam" is a classical Sanskrit play that showcases the playwright's literary
prowess and intricate use of language. In the play, Kalidasa employs different languages and registers
to represent characters from various social strata. This linguistic diversity adds depth to the
characterization and contributes to the overall richness of the narrative. Here's a critical commentary
on Kalidasa's use of different languages in "Abhijnanashakuntalam":

1. Sanskrit for Noble Characters:

 Kalidasa predominantly uses Sanskrit, the language of the elite and learned, for the
dialogues of the noble and divine characters. This includes King Dushyanta, Shakuntala, and
the celestial beings. The use of Sanskrit for these characters not only reflects their elevated
status but also adds a poetic and majestic quality to their interactions.

2. Prakrit for Commoners:

 Characters from more humble backgrounds, such as Shakuntala's friends and the fisherman,
often speak in Prakrit, a vernacular language. Prakrit is associated with the common people
and is used to convey a sense of naturalness and simplicity. This linguistic choice helps in
creating a contrast between the refined language of the nobility and the straightforward
speech of the commoners.

3. Multilingualism as Social Indicator:

 Kalidasa's use of different languages serves as a social indicator, reflecting the hierarchical
structure of the society depicted in the play. The linguistic distinctions underscore the divide
between the aristocracy and the common folk, emphasizing the social stratification of the
characters.

4. Symbolism and Cultural Context:

 The use of Sanskrit and Prakrit is not merely linguistic; it also carries cultural and symbolic
significance. Sanskrit, being a classical and sacred language, aligns with the elevated and
divine aspects of the characters and their actions. Prakrit, on the other hand, connects with
the earthly and mundane, reinforcing the realism of the commoners' lives.

5. Poetic Expression vs. Everyday Speech:

 Kalidasa's choice of language contributes to the overall aesthetic of the play. The Sanskrit
verses are often highly poetic and structured, suitable for conveying profound emotions and
philosophical insights. Prakrit, in contrast, is more suited to represent the casual and
everyday speech of the common people, enhancing the play's authenticity.

6. Conveying Emotions:

 The use of different languages allows Kalidasa to convey a wide range of emotions. Sanskrit
may be used for expressing love, devotion, or grandeur, while Prakrit may be chosen for
moments of humor, simplicity, or emotional directness. This variation in language
contributes to the nuanced portrayal of characters' emotions.

7. Narrative Fluidity:

 Kalidasa's skillful navigation between Sanskrit and Prakrit contributes to the narrative fluidity
of the play. The transitions between different linguistic registers are seamless, allowing the
audience to engage with the characters' diverse backgrounds without disruption.
In conclusion, Kalidasa's use of different languages in "Abhijnanashakuntalam" is a masterful literary
technique that not only reflects the social hierarchy of the depicted world but also adds depth,
authenticity, and aesthetic richness to the characters and the overall narrative. The multilingual
approach enhances the play's portrayal of diverse voices and contributes to its enduring appeal as a
classical masterpiece.

comment on the character of vidhushaka in shakuntala

In the famous Sanskrit play "Abhijnanasakuntalam" (commonly known as "Shakuntala"), the

character of Vidhushaka, also known as Jester or Clown, serves as a comedic and sometimes
philosophical figure. Here are some key points about the character of Vidhushaka:

1. Comic Relief: Vidhushaka provides comic relief throughout the play. His witty remarks, humorous
observations, and playful banter with other characters lighten the mood and provide a contrast to
the more serious and emotional moments in the story.

2. Social Commentary: Vidhushaka often makes satirical comments and critiques societal norms and
conventions. Through his humorous dialogue, he sheds light on the hypocrisy and flaws of the world
around him. His role as a jester allows him to speak truth in a lighthearted manner.

3. Friend and Confidant: Vidhushaka serves as a loyal friend and confidant to the protagonist,
Shakuntala. He offers advice, provides emotional support, and stands by her side throughout her
journey. His presence adds depth to the relationships and enhances the dynamics between
characters.

4. Philosophical Insight: Despite his comedic role, Vidhushaka occasionally offers philosophical
insights and reflections on life. His humorous observations often carry deeper meanings, highlighting
the transient nature of human existence or the follies of human behavior.

5. Cultural Context: Vidhushaka represents a common character archetype in traditional Indian

theater, known as the Vidushaka or the Fool. This character is a staple in Sanskrit dramas, offering
both entertainment and commentary on social and moral issues.

Overall, Vidhushaka's character in "Shakuntala" brings light-heartedness, social commentary, and

philosophical depth to the play. His presence adds layers of complexity and provides a balance to the
emotional and dramatic elements of the story.