1,500 years apart, Vyasa and Kalidasas versions reflect the change in

social values and gender identity, says DEVDUTT PATTANAIK

She was abandoned in the forest by her mother, Menaka, the apsara, who had
successfully seduced Vishwamitra, the tapasvi or ascetic. Mission accomplished, the
water-nymph returned to the paradise of Indra, the lord of heaven. His austerities
broken, Vishwamitra walked away ashamed, determined to win back control of his
senses. On the forest floor, lay a girl-child, proof of a nymphs victory and an
ascetics defeat, alone, weeping, food for vultures who had gathered around her.

This is how the Rishi Kanva found her: under the shadow of birds (shakunta). Hence,
he named her Shakuntala, and raised her as his own. She grew up to be a beautiful
maiden. Then one day, when her father was away, a handsome prince came to the
hermitage. It was Dushyanta, prince of Hastinapur.

He had never seen such a beautiful, innocent girl before, a gentle doe. And she had
never seen such a handsome man, truly a virile buck. They flirted. They courted and
mated without social sanction, not even her fathers approval. Then he went away,
leaving her behind.

He could not wait till Kanva returned and it would be inappropriate to take her
without Kanvas permission. But he promised to be back, meet Kanva, and ask her
hand in marriage. You shall be my queen, he had said.

Now,
the
story
changes.
In Vyasas version, written 2,000 years ago, as part of the epic Mahabharata, Kanva
returns and finds his daughter with child. He smiles. The child is born. It is a son. He
is raised by Kanva and Shakuntala in the forest. He is a brave boy, with the power to
put his hand in the mouth of a lion and count its teeth.

When he grows up, he wonders who his father is. So Shakuntala takes him to meet
Dushyanta. The king, however, does not remember her. He insults her as a woman
of loose morals and accuses her of trying to stake a claim over his kingdom.
Shakuntala stands before him unperturbed. This is your father, she tells her son
and turns around with dignity.

The gods then speak up for her and Dushyanta is forced to apologise and take back
his words. He claims to have spoken thus because he wanted the support of his
people so that no one challenges the legitimacy of Dushyanta. Shakuntala laughs: a
forest maid, she has no notion of social approval, legitimacy or marital rights.

In Kalidasas version, written 500 years later, at the height of court culture of the
Gupta period, when Dushyanta does not return, Kanva insists that a pregnant
Shakuntala go to him, as a wife should. But in the court, Dushyanta cannot
remember her. Why? Because of a curse of Durvasa, a hot-tempered sage who was
angered by the lovesick Shakuntalas distractions. Shakuntala loses the ring that
Dushyanta had given her. Heartbroken, she leaves the kings palace and returns,
some say to the forest, some say to her mothers abode. After she departs, a
fisherman finds the ring and gives it to the king and memory returns. A shattered
Dushyanta searches for his beloved everywhere, in vain.

Years later, after helping the devas win a war against asuras, Indra leads Dushyanta
to a meadow where he finds a child counting the teeth of a lion. The childs
armband falls off. Dushyanta ties it back. Only his father or his mother can do so,
say the gods, revealing that the child is Dushyantas. Thus Shakuntala is reunited
and there is a happy ending, after long years of longing and separation.

Kalidasas Shakuntala seeks her husband while Vyasas Shakuntala seeks her sons
father. Kalidasas Shakuntala is very conscious of social stigma while Vyasas
Shakuntala is indifferent to it. Kalidasas Shakuntala is a frail lovelorn heroine;
Vyasas Shakuntala is autonomous and dignified. This perhaps is a reflection of
change in social values and gender identity over time.

The author is chief belief officer, Future Group.devdutt.com