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Abhijnanasakuntalam: The RECOGNITION OF

SAKUNTALA (A PLAY IN SEVEN ACTS).
❖ INTRODUCTION:
➢ ‘KALIDASA’- The Author:-
Kalidasa, the greatest poet and a most self-effacing writer in classical Sanskrit literature,
probably lived and wrote at the close of the first millennium B.C. though his original dates are
endlessly and inconclusively debated upon by scholars. It has been suggested that he had spent the
greater part of his life in Ujjayini that he adopted as the backdrop for his works both for its
prosperity as well as its hierophany. Infact, he is an indelible name even in the world literature as
he is an efficient playwright, a writer of epic and a lyric poet of extraordinary scope. Even his
name might be interpreted following the legends as “the servant of Time” or the creative principle,
Ardhanarisvara of which he is ‘the voice of Silence.’ Kalidasa thus places himself in the ancient
tradition of the Vedic poet-seers whose classics bear the potentialities for relevance to the future
generation readers in different cultural contexts. In all, seven of his works have survived of which
the best known are the play Sakuntala, a beautiful blend of romance and fairy tale with elements
of comedy and the lyric monody, Meghadutam (The Cloud Messenger). He was a courtly poet who
wore his learning lightly and with grace. In his hands language attained a remarkable flexibility,
uncluttered by verbal virtuosities yet remaining loaded with the rich ores of the literary and
mythical allusiveness of his cultural heritage. His work is instinct with Siva’s presence which
amalgamates the erotic and the spiritual that characterizes Siva-mythology. A mystic feeling for
the transcendental combines with a sensuous feeling for beauty in Women and Nature. It must be
mentioned here that his tour-de-force Sakuntala provides a window to the remarkable world of the
poet’s creative psyche of whom it was said: ‘Once, when poets were counted, Kalidasa occupied
the little finger; the ring finger remains unnamed true to its name, for his second has not been
found.’

Kalidasa’s works have unfortunately come down to us in several recensions current in

different regions of the country where the interpolations present an ancillary setback. The text of
Sakuntala for instance, has been handed down in four main recensions: Eastern or Bengal,
Southern, Kashmiri and Devanagari (Northern). Of them the most consummate and aesthetically
satisfying is the Bengal recension which devotes more space to the development of the love of
Sakuntala and Duhsanta and draws the characters of the duo more completely. Another unique
feature of this version is the captions assigned to the end of each Act that expatiate upon the central
motif of this drama while interlacing an element of symbolism into its texture. Since translation is
an act of serving two masters at the same time, the rendition of Sakuntala into modern prose
versions means compromise- both at the levels of variety and richness of its several dialects- a
problem pervading its transformation. Again, as Nature possesses a life of its own in Indian thought
and enshrines power, holiness, plentitude and beauty that enhance its poetic effect, it poses the
problem of finding its appropriate equivalent in other languages to a translator. Also there exists
the difficulty of the unavoidable metaphysical and spiritual labyrinth that is generated by the
philosophical contexts within which his works germinate. But it can’t be denied that inspite of the
numerous hurdles one can definitely penetrate the apparently opaque realms of Kalidasa’s works
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impelled by its power and beauty and explore the depths and reaches of Kalidasa’s art to taste its
full flavour, i.e., Rasa.

➢ CLASSICAL SANSKRIT DRAMA: Origin and Development:-

Although the origins of Indian drama are shrouded in antiquity, some influences that
directed its evolution might be explored through three avenues: the Vedas, the epic and the dance.
The Natyashastra of Bharata styles itself as the fifth Veda with these aims- to represent the ways
of the world, to give good advice and enlightenment through entertainment, to bring peace of mind
and to present a generalized view of the world. The chief goal of drama is to produce Rasa, the
aesthetic or depersonalized emotion that is distilled by art. Drama appears as a blend of verse,
prose, dance, music and spectacle. Its origin can be traced back to the Vedas: the dialogues in the
Rig-Veda, the Vedic hymns and the Mudras or gestures adopted during the performance of the
Vedic rituals.

Sanskrit drama is secular but there is a religious and ritual dimension to it as suggested by
the ‘preliminaries’ or the ‘purva-ranga’. Even the Bharatas were originally Bards or rhapsodes and
this bardic tradition of the epic has a strong influence on the development of drama. Dance is an
art-form that blends the lyrical and narrative modes which provides the elements of ritual and
stylization to drama.

With the various traditions converging around the middle of the first millennium B.C., the
moment was ripe for the emergence of drama and it only required the wielding genius of Kalidasa
to reach its zenith of achievement. The Natyashastra also provides a general picture of the ancient
Sanskrit theatre which was to be like the ‘shape of a mountain cave’. Its walls were supposed to
be decorated with beautiful paintings of aesthetic appeal while its architectural features like
balconies, pedestals and windows were both functional and decorative. The text mentions three
shapes of playhouses: oblong, square and triangular, and prefers the medium size of 96 by 48 feet
divided into two equal halves for the auditorium. The stage was raised 27 inches off the floor with
the seats arranged in the pattern of a ‘staircase’. There were two doors for the entry and exit with
a rich curtain before them and the theatre utilized the minimum scenery and props. Language thus
became an important medium in the theatres back then. Dramatic performances were held on
special occasions where women played the female roles. Stage directions were conventional;
colours and masks were used symbolically in costume and make-up. Also classical drama used
both regional dialects and Sanskrit for the purpose of stylization and adding richness to theatre.
But considering all the above features it is particularly difficult to state if it was a popular form of
entertainment or not.

➢ SAKUNTALA:-
This play is clearly one of the last works of Kalidasa as here his vision becomes mellowed
and deepened and the language responds like a finely-tuned instrument to every touch. The
unerring choice of “the word” and the oneness of language and thought are fully realized here.
This play probably has its source in the Mahabharata (Book 1: chs 62-69) where the bard
Vaishampayana tells this story to the monarch Janamejaya, descendant of Bharata, at the Great
Sacrifice that the monarch was performing. This work incontrovertibly reflects certain distinctive
features: it moves in several worlds and touches upon different planes of consciousness; the poetic
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vision is pensive and reflective; and presents a fairy tale element. The action of the play moves out
of the green world (a magico-sacral world) of Nature, centering round Sakuntala, the Lady of
Nature, into the gilded world of Duhsanta’s palace and pleasure gardens, and finds its resolution
in a higher world that partakes the quality of timelessness as it is presided over by Marica and
Aditi. Different planes of consciousness are touched upon here: dream and awakening; delusion
and loss of memory; recollection and recognition; and a state of mind where recollection stands
on a pre-conscious threshold. In the play, in the portrait episode, the real and the imagined fuse
and vision becomes hazy and wavering.

This drama is an exquisite saga of romance and fable with the rudiments of humor. It is
located in the mythic past in a world of enchantment where the human and the divine intermingled-
a fictive world to which we are transported as already hinted by the enclosing words- ‘Atha’(now)
and ‘Iti’(thus) of the play. Thus, we encounter the heroine, Sakuntala in this fantastic world for the
first time as the Child of Nature (she is an apsara in whom nature and nurture blend without
opposition) and the guardian deity of the woodland. She is compared to the jasmine and thus
appears utterly unbefitting for the splendid court-life. Therefore, she never becomes a part of this
synthetic grandeur and is finally united to Duhsanta in Marica’s (offspring of the Self-Exiting
Energy) hermitage after he is completely purified. Even the benediction is sung in the perfected
world of the Primal Parents. Equally noteworthy is the ultimate tone and quality of the words of
the last stanza in the play. Much akin to the Indian philosophy, Kalidasa here, makes an attempt
to dilute polarities of thought into a harmonious equation as revealed in the epithet ‘Nila-lohita’.

Being his last work, Sakuntala registers a deeper poetic vision and an unquenchable desire
for the ‘other shore’, ‘the artifice of eternity’ in Kalidasa where he makes arrangements for
phenomenal epiphanies to take place. It is demarcated from the spontaneous and instinctive world
of Nature as this golden world is one of austere beauty, luminous with the light of the spirit. Certain
prophecies are made in this last act by Marcia, whose voice echo the incorporeal voice of the
Mystic Fire and this act reflects the exposition in several ways: the finding of the lost son and heir
precedes the recognition of the mother. An interesting parallel is provided by the last scene in
Shakespeare’s The Winter’s Tale.

As words are the ideal avenues to explore the fictive world, the title itself resonates with
assorted connotations. It not only underlines the fact that ‘a tangible proof of love’ (ring) is
indispensible for Sakuntala as was the case of Desdemona (Othello) whose handkerchief was
crucial to establish her chastity; it also raises the question of true ‘knowing’. Although Duhsanta
is initially attracted to Sakuntala carnally, he gets to know her only after the barrier of flesh is
withered and mortified by the flames of the agony of separation. Sakuntala also examines the
accepted ideals and the relation of what seems to what is by means of appealing ironies that
permeate the entire text. It not only winches queries regarding the ideal of kingship but also vitally
scrutinizes Duhsanta’s character, which while juxtaposing both his godlike ‘public image’ and his
fallible ‘private self’ presents him as a complex and interesting character. It goes to Kalidasa’s
credit that he utilizes the device of symbolic gestures to project this duality. For instance, his taking
off the regalia before entering the hut symbolizes his taking off the ‘public image’ with the burden
of exemplary expectations and inhibitions. The ideal of asceticism too is questioned via an
excellent deal of good-humoured irony.
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‘Foreshadowing’ as a device is used a great deal in the play and skillfully. And as Sanskrit
is a patois rich in synonyms and subtle shades in meaning, the play is automatically complicated
by Kalidasa’s deft use of argot and all that the audience can do is revel in its ethereal nuances.
Another device that he brilliantly handles in this drama is the ‘Prelude’ which contains some of
the major incidents required for advancing the plot but is performed off-stage as its presence might
seem superfluous for the action of the play.

But soon the play is poised on the edge of tragedy as the Mystic Fire is insensibly
transformed into a court of law for the innocent Sakuntala who comes in desperate hope of justice
there. Instead in Duhsanta’s ignorance she is stripped of her dignity and modesty and her every
word is twisted into a lie. In the last moments of her hour of tribulation, a flash of light appears
and carries her away- a dues ex machine, through which the situation is saved temporarily but the
tragic tone still persists.

Even though the epic serves as the primary source of this play, Kalidasa has drastically
modified and re-created this piece both in terms of its plot and characterization to suit his intricate
poetic vision. He even uses the subterfuge of the curse to explore different states of the
consciousness and to probe beneath the surface of Duhsanta’s personality. He also alerts us to the
question – the whole idea of furnishing tangible proof for all those things in life we take on trust:
love, constancy and fidelity. The royal signet ring has gained an added importance and status; it
becomes a character in the drama and plays a role- the theme of knowing and recognition hinges
on the presence and absence of the Ring.

The Vidhusaka or jester in Sanskrit drama is the friend and close companion of the hero
who performs two functions in the play: a figure of fun who excites laughter with his odd
appearance, manner and witty speech; and a ‘detractor’ or a critic who deflates everyone around
him with the exercise of his sharp and caustic wit. An ill-favored hunchback, Madhavya, the
Vidhusaka in this play, is the butt of ridicule for the world, which in turn is the target of his wit.
He shares a relationship of deep affection with the king, who can be himself in his presence.
Consequently, he is a privileged person and possesses the capacity to laugh at himself- a quality
that transforms him into an ironic commentator in the play. Even the queen and king are not
exempted from gnaws of his drollness. His amusing comments often deflate the king whenever
the latter holds forth on the theme of Sakuntala’s charms or makes self-serving statements. His
refreshing wit blows in some fresh air into the hothouse atmosphere of the court while they also
serve as the tart tamarind to the cloying sweetness of Duhsanta’s declamation on love, its raptures
and pain. He brings in an ironic and critical perspective into the court devoted to the king’s
adulation as though he is a loyal adherent, he is never a sycophant. But he is dismissed at the end
of Act 6, affectionately and with honour to go and inform Pisuna about Duhsanta’s momentous
mission and to instruct the chief minister to carry on the government in the interim. This implies
that Duhsanta no longer requires a practical guide in form of the jester as he had metamorphosed
into a true king of his subjects and a true man who can value pure love. And this further indicates
that the denouement no longer requires the jester who is thus sacrificed after being kept forever
outside the quarters of Sakuntala’s ‘green world’.

In these and many other respects this play is absolutely unusual in tone and treatment,
where a long period of penance for Sakuntala and repentance for Duhsanta end in reconciliation
based on mutual respect and trust that brings some measure of happiness for both by finding a
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common ground in the child and their future. Though there are tragic moments of overhanging
gloom and darkness in Sakuntala, it closes on a note of serenity, expressing the poet’s vision of
peace and harmony in a world where order has been restored. The little prince, Sarva-Damana
(All-Tamer) will grow up and be known as Bharata, he who bears, protects and sustains the world.
It is after him that the country is called Bharata-Varsa (India), the land of the Bharatas who are the
people of India.

❖ The Recognition of Sakuntala: The Play- A Summary:-

➢ PROLOGUE:-
Benediction:-
The benediction begins with an invocation to the “First Creation” and “Bearer of
Oblations”, i.e., “the Supreme Lord of the Universe” or the “Universal Womb of Seeds” who utters
Holy chants, orders Time, pervades the world stimulating it with “the Breath of Life” and reveals
itself in the eight perceptible forms, summoning it to preserve the enterprise that is about to be
staged.

This benediction is followed by the entry of the director, who enters urging his wife to
attend the audience as soon as her preparations in the green-room are finished. Hearing her husband
the actress enters the stage enquiring about the details of the play that is to be staged for the
evening-show. The director then informs Nati that as they have a “highly educated and most
discerning” audience, they are going to stage Kalidasa’s “The Recognition of Sakuntala” and
advices her to tend the actors’ performances so that the show might be a success. To this Nati gives
an affirmative reply conferring its credit to his “excellent training and direction”. But the humble
Sutradhᾱra forbids Nati to be wholly self-assured until they are applauded by the learned
spectators. When Nati further inquires about their consecutive performance, the director
commands her to sing and delight their viewers with a song about the pleasant “summer” when
even the night sets in a picturesque manner and the fragrant breezes blow “consorted with Patali
flowers”. Nati then sings about the exquisite and delicate Sirisa flowers that the youthful lovely
women place “tenderly as ornaments over their ears.” After looking at the mesmerized and spell
bounded audience, the entranced director highly applauds Nati and asks about the play that they
will stage. But when she reminds him about his own statement he made at the beginning regarding
The Recognition of Sakuntala, he accuses his faulty memory and ascribes it to the luring song of
Nati that carried him away like Duhsanta, who was similarly carried away “by the fleet fleeing
antelope.” This dialogue of the Director not only marks the end of the Prologue but also starts the
ball rolling for Sakuntala.

ACT ONE: “THE CHASE”:-

The first Act is set amidst the forests in the foothills of the Himalayas where the Hermitage
of Kanva is located by the river Malini. It begins with the entry of king Duhsanta with bow and
arrow as he is seen chasing a wild deer on his chariot. Seeing his master the charioteer then
compares him with Pinaki or Lord Siva hailing him as the “Long-Lived Majesty.” The king tells
him that they have certainly travelled a very long distance following this terribly frightened
blackbuck arching his neck with infinite grace to avert his hunter as he is panting hard with open
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jaws dropping “the half-chewed tender grass to mark its path”. And on noticing the sky-touching
leaps and the extremely fast pace of the deer, the puzzled Duhsanta asks the reason behind his
failure to trace the deer even in such a hot pursuit. To this Suta replies that as the ground was
uneven he was compelled to slacken the speed of the chariot but also states that as the ground is
now even they will soon overtake it. On the king’s commands he then slackens the reins which
increases the speed of the chariot and says that the horses appear to glide with outstretched bodies
and flung ears outstripping even the dust that their pace whirl up. The exulted king then begins
comparing his horses to Hari’s when a voice is heard offstage forbidding him to kill the deer as it
belonged to the Hermitage. When Suta informs him about the ascetics guarding the blackbuck, the
king orders him to rein the horses immediately, a command to which the charioteer subscribes.

The ascetic enters with raised hands prohibiting the king from killing the fragile and tender
beast with his sharp-piquant arrows meant for protecting the distressed which will be like “tongues
of flame on a heap of flowers.” Hearing this constraint, the king replaces his arrow in the quiver
which pleases the ascetic who in turn blesses the monarch of the lunar dynasty of Puru “with a son
who will turn the wheel of empire.” He also informs Duhsanta that they are on their way to collect
wood for the sacrificial fire of the Hermitage of the Patriarch, Kanva clinging to the Himalayan
slopes along the banks of Malini and “where Sakuntala dwells like its guardian deity.” He then
advices Duhsanta to accept the hospitality proffered to a guest of the Hermitage if he is not
preoccupied as that will enable him to realize how the holy sages performing their rites in
tranquility prosper under his judicious ascendancy. And when Duhsanta desires to know the
whereabouts of the Patriarch, he is informed that Kanva has left for Soma-tirtha some time ago in
order to propitiate the adverse fate threatening the happiness of Sakuntala after entrusting the task
of the reception of guests to her. Hearing this Duhsanta decides to visit the Hermitage out of his
profound veneration for him while the ascetic exits with his disciple.

As Duhsanta announces their arrival at the outskirts of the penance-groves confidently

without asking the directions, Suta curiously inquires the reason behind his abrupt conclusion to
which he gives a beautiful description of the surroundings. He states that as the grains of the wild
rice lay scattered under the trees due to the parrots, stones moist from pounding ingudi-nuts imbue
the place, deer and fawns browse in their tranquil haunts under the dripping barks of trees where
darbha-shoots are closely cropped, rippling waters flow in deep channels and smoke drifts up from
the Sacred Fire, he is certain of his conclusion. After travelling some distance towards the
Hermitage, Duhsanta alights from his chariot so that the peace of the surroundings might not be
disturbed and also takes off his bow and precious regalia, handing them over to Suta whom he
instructs to supply water to his horses in the meantime.

After Suta departs, Duhsanta enters the Hermitage and immediately experiences a good
omen in the form of a throbbing arm that indicates love and marriage. Just then he hears female
voices coming from the south of the orchard and is instantly captivated by their unparalleled beauty
as they arrive with watering jars to water the saplings and decides to observe them from behind a
shade.

While watering the plants Anusuya states that as Father Kanva had ordered delicate
Sakuntala to look after the flowers, it seems that they are dearer to him than his daughter. But
Sakuntala counters this accusation by saying that the flowers are like sisters to her. Then
Priyamvada asks her that since all summer plants have been watered, should they now sprinkle the
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winter ones as that would be an act of disinterested devotion- a proposal that Sakuntala approves
with utmost eagerness. On getting to know her identity the fascinated Duhsanta feels that by
compelling this “artless beauty” to undertake penance, Kanva is “attempting to cut acacia wood
with the edge of a blue-lotus petal.” Sakuntala then urges Anusuya to loosen her excessively
fastened garments which Priyamvada believes to be the outcome of her “own budding youth.”
Even the hidden Duhsanta who thinks that the bark is not the appropriate adornment of such beauty
feels that she looks enticing in her rags. Sakuntala after that says that the mango tree with tender
leaf sprays seems to beckon her and as she stands beside it Priyamvada comments that it appears
to be wedded to a lovely vine. And the stunned king can do nothing but be incarcerated in the
beauty of her limbs glowing with youthful radiance. Anusuya then informs her of the marriage of
the budding jasmine and the fruit-laden mango tree which overwhelms Sakuntala. Seeing her
gazing at the Vana-jyotsni, Priyamvada says that Sakuntala too secretly desires a worthy partner
which places her in an awkward situation. Presently Anusuya reminds her of watering the Madhavi
bush which her father nurtured with great care. Sakuntala then draws the attention of her friends
to the untimely budding Madhavi bush which Priyamvada reveals as the signal of her marriage as
predicted by Kanva. On hearing this Duhsanta expresses his deepest yearning to make her his bride
but restrains himself with the intention of knowing the “true facts about her.” A bee then starts
hovering around Sakuntala’s face which appears to Duhsanta as blessed because it could touch her
“tremulous” eyes and “ripe lower lip” unimpeded whereas she seeks her friends’ help to save
herself from what she considers an gratuitous harassment. Ultimately irritated by its presence she
decides to leave and taking this opportunity Duhsanta reveals himself professing to protect
“guileless young girls” from any impudent rogue which astonishes all the three young women. But
Anusuya handles the situation and asks Sakuntala to bring the distinguished guest fruits and guest-
offering while they wash his feet with water. When Duhsanta refuses it cordially, Priyamvada
urges him to rest under the cool shade of the Saptaparna tree. But Duhsanta turns down even this
proposal. Instead he requests them to give him company which they accept and sit down near him.

Though Sakuntala clandestinely feels attracted towards the king, her friends become more
interested in his identity and ask him about his lineage. The king shrewdly introduces himself in
the following words to screen his reality: “I am one well-versed in the Vedas whom the Paurava
monarch has appointed as Minister in Charge of Religious Affairs…..I chanced to come to these
Groves of Righteousness.” Instantaneously noticing her demeanor, both girls start taunting
Sakuntala with the suggestions of her marriage, while the king expresses to them his curiosity
regarding her parentage as Kanva was universally known to be a celibate. Anusuya thus begins
narrating her history- how the gods becoming apprehensive of Kausika, the Royal Sage’s
formidable austerities sent the Apsara Menaka through whose union Sakuntala was born. Even the
king believes this befitting since “such matchless beauty” could never have been born of a mortal
womb. He next asks whether her hermit-vows fettered her forever or will she be unshackled
through marriage one day, to which he receives an affirmative response. After his “troubling
doubts” are dispelled, Duhsanta expresses his uncontainable elation to himself. Soon the incensed
Sakuntala prepares to leave but is prevented by Priyamvada on the plea of her debt of two turns at
watering the trees to Priyamvada. But as she proceeds with the task, the king observes her languid
and disheveled state and offers his Signet Ring to her friends as a disbursement of her debts.
Studying the name on the ring they are taken aback but consoled by his assurance that it is a gift
from the king, they release Sakuntala from all her debts. But she continues to delay her departure
that leads Duhsanta to reflect if she too shared his emotions. At this juncture a voice offstage
announces the unforeseen arrival of King Duhsanta and his troop whose horses with their
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“tumultuous hoof-beats” run amok the peaceful grounds of the Hermitage while an infuriated
tusker, belonging to the retinue, with a branch skewered to his trunk and wild creepers wound
round him rampages the Groves of Righteousness. Realizing this to be his armed-guards looking
for him, Duhsanta feels disconcerted and curses his ill-luck. Not only he but also the women feel
anxious after getting to know about the hysterical elephant and decide to leave immediately asking
for pardon over this unwarranted incident and inviting him for a second visit. But Sakuntala starts
making excuses like a sudden numbness in the thighs or her foot being pricked by “points of fresh
blades of Kusa-grass” or that her garment was “caught in the twigs of this amaranth bush” to detain
her departure and even when she is forced to leave she longingly gazes at the king “all the time.”
As soon as she leaves the king starts brooding over his return to the Capital- a thought that appears
most unacceptable to him in such an emotional condition as he feels his “restless heart” rushing
back “like a silken pennon on a chariot’s standard borne against the wind.” Therefore, he ultimately
decides to camp with his companions at some distance from the penance-groves for the time being.

ACT TWO: “CONCEALMENT OF THE TELLING”:-

This Act is set against the backdrop of the forest and begins with the soliloquy of the court-
jester and king’s companion, Madhavya who enters grudging over his miserable Fate. He feels
rancorous over the fact that owing to the king’s obsession with the chase he is compelled to wander
across the jungle even in the severe heat of a summer noon, drink rancid water of mountain
streams, feed on spit-roasted meat and spend sleepless nights suffering from aching joints as well
as getting up at the crack of dawn for hunting. Added to this he is afflicted by a boil that had
sprouted on his lump. To supplement his quandary is the new affection that had grown in the king’s
mind for Sakuntala, whose charms had deprived Duhsanta of his peaceful sleep and under whose
daze he enters wearing wild flowers and carrying a bow. Seeing him approach, Madhavya starts
pretending infirmity by supporting himself on his staff in order to draw his attention.

Duhsanta enters torn apart by an internal dilemma over a solitary thought: whether his
emotions for Sakuntala are reciprocal or not. Although he believes her gestures and words to be a
reflection of his own state, he concludes wryly: “Love sees only Himself everywhere.” At this
moment Madhavya extends his greetings to the king while accusing him for his miserable situation
as he had abandoned his kingly duties and opted voluntarily for the life of the foresters. This hectic
life, Madhavya asserts had taken a toll on his health and therefore he appeals for one day’s rest to
his majesty. On hearing his entreaty Duhsanta feels that Madhavya reflects his own thoughts as
his enamoured mind is unwilling to take the lives of those innocent companions of his lady-love.
Noticing him unmindful, Madhavya prepares to leave in disgust when the king prevents him by
saying that he requires his help in a personal matter that will not trouble him even with the slightest
exertion.

Next he commands the guard, Raivataka to fetch the General who enters praising the king
by stating that he possesses the “magnificent frame” of a mountain tusker whose sinewy strength
endures even the sun’s hot rays and whose brawny chest is hardened and scored by ceaseless
hunting. The king then informs him that as Madhavya reviles the chase; his own ardour for it is
cooling off. Whereas Lord Bhadrasena secretly nourishes a similar opinion, he outwardly pretends
to favour hunting by glorifying it as the most excellent sport. But Madhavya retorts to his words
by calling him a “witless jackal” ready to be caught in the “jaws of some old bear” and Duhsanta
rejoins by saying that as they were in the vicinity of the Hermitage, they must allow the herds of
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antelopes, bison and wild boars to lead a carefree life while his loose-knotted bow rests. He also
commands the General to recall the beaters and withdraw the soldiers to prevent any fiasco as holy
hermits are like sun-crystals that “vomit fiery sparks from deep within if struck by another
luminous power.” The General along with the attendants and guard, then bowing before him exit
for executing his commands.

After everyone leaves Madhavya requests Duhsanta to sit down beside him under the cool
canopy of flowering vines. Sitting there he refers to the “exquisite ornament of the Hermitage”,
Sakuntala but when Madhavya forbids him to nurture an unseemly passion, he retorts by saying
“that Duhsanta’s mind is never drawn to forbidden things” as she was the daughter of an Apsara.
Still Madhavya taunts him by telling that his palate being “jaded by enjoying the delicate candies”
of his Inner Apartments is now consumed by a sour passion for a hermit-girl. But Duhsanta protests
by expatiating upon the unrivaled and extraordinary beauty of Sakuntala in the following words:
“A flower whose fragrance none has dared to smell; Spring’s tenderest shoot…..a gem glowing
inviolate.” When Madhavya asks him about her feelings, Duhsanta admits that all her gestures
reflected a favourable disposition and urges Madhavya to find some pretext of re-visiting the
Hermitage. After thinking for a while Madhavya suggests that as he is the king, he could easily go
there without any pretext in order to demand his “one-sixth share of wild rice from the hermits.”
But Duhsanta refuses this suggestion as he considered the sixth part of the hermits “imperishable.”
Just then he hears the calm and resonant tones of the hermits and commands the guard to escort
them to his presence.

The first of the hermits enters exclaiming his admiration for the king who was equally a
Sage in practice and whole-heartedly devoted to the protection of his subjects. When the second
hermit comes to know that he is Duhsanta, “Friend to Indra, the Destroyer of powerful Vala” he
begins complimenting the king by calling him the singular protector and sovereign of “the All-
Supporting Earth bounded by the dark-blue oceans.” Then they offer fruits to the king who eagerly
enquires the reason for their visit. The hermits addressing him as the befitting descendant of the
consecrated protectors of the Puru dynasty, request him to reside in the Hermitage to protect them
from the demons that disturb their holy rituals in absence of the Patriarch. After being assured by
Duhsanta they exit.

Duhsanta after this incident attempts to persuade Madhavya to accompany him to the
Hermitage- a suggestion that he rejects in dread of demons. Soon the guard informs him that his
chariot is ready and also announces the arrival of Karabhaka, the emissary of the Royal Mother,
knowing which Duhsanta commands him to bring Karabhaka before him immediately. Karabhaka
informs him that the Royal Mother is performing a four-day fast known as “The Safeguarding of
the Son’s Succession” and she desires his presence on the solemn day of its completion without
fail. Hearing this command, the perplexed king requests Madhavya to take his place in the
ceremony and perform his ritual duties as he had always been considered as a son by the Royal
Mother. Although Madhavya approves of this arrangement, he demands a befitting journey that
suits a king’s younger brother. The king agrees to bestow his entire retinue to Madhavya during
his journey as that would also save the Hermitage from the unnecessary clamor that they are
causing. As Madhavya starts nattering and gloating over becoming the Crown Prince for the time-
being, Duhsanta becomes anxious as he might also blather out his secret interest in Sakuntala to
the Royal Ladies. He therefore pulls him aside and attempts to mask the situation by telling him
that his sole interest in the Hermitage is the esteem that he feels towards the sages and not his
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attraction for Sakuntala as there “lies a world of difference” between them. So he must not “take
in earnest what was spoken merely in jest.” And this Act terminates with a final quibbling question
thrown at Duhsanta by Madhavya in accordance to his witty nature, “Is that all?”

ACT THREE: “LOVE’S FRUITION”:-

This Act begins with a Prelude and is set in the Hermitage of Kanva where one of his pupils
enters brimming with excitement and admiration over Duhsanta’s arrival whose “bow quivering
with rage” had “made hindrances flee from the scene.” As he is about to gather Kusa-grass for
strewing on the altar, he notices Priyamvada and on coming to know that she is taking lotus leaves
and the cooling balsam to treat Sakuntala’s heat-stroke, he proposes to send hallowed water used
for sacrifices with Gautami to soothe her. This marks the end of the Prelude.

This is followed by the entry of the love-smitten Duhsanta who enters the stage pinning
over his miserable state. He admits that he had been injured by the weapons of love- the moon’s
fiery darts and adamant -tipped arrows of Siva which is burning his lover’s heart akin to Kama,
the God of Love who was burnt to ashes by Siva’s wrath. He pleads to the Lord that if he cannot
be redeemed from the “unsleeping anguish”, then Sakuntala too must be assailed with a similar
passion. He further complains to the merciless Siva, who even after being nourished “assiduously
with a hundred rites and feelings” refuses to provide him any respite from his distraught condition
because he had already been requested by the ascetics to retire as the Hermitage was currently free
from impediments. He soon decides to visit the shady bowers of the Malini banks where Sakuntala
jaunts with her friends on a hot noonday. Noticing the avenue of young trees he exclaims
enthusiastically that Sakuntala must have passed this spot as the cups of flowers were still unsealed
and broken shoots still moist with the milky sap. As he advances relishing the soothing breeze, he
perceives footprints at the entrance of the “arbour of reeds” and becomes exulted on witnessing
his beloved “reclining on a stone slab strewn with flowers and attended by her friends.” He then
decides to overhear their conversation secretly.

When Sakuntala even after being fanned and treated with several medications couldn’t be
relieved of her indisposed and dejected condition, both her friends and the cautiously hiding king
begin to suspect her passions for Duhsanta behind her “pale loveliness”. He also notices her “wan
face with sunken cheeks, breasts no longer firm, slender waists grown more slender, shoulder
drooping despondent, complexion dulled by pallor” that further substantiates his conjectures. After
she is repeatedly requested by her friends to share her grief, she ventures to articulate the reason
of her aching heart that causes an unwarranted trepidation in the love-stricken bosom of Duhsanta.
On getting to know about her true feelings Duhsanta grows ecstatic and thanks “Love…..which
brings relief to the world of living things.” Sakuntala then appeals to her friends to aid her in
finding her “favour in the eyes of the Royal Sage”, which Priyamvada thinks could be performed
without delay as she feels that the king too shares Sakuntala’s emotions as he appears wasted from
sleepless nights. So she proposes that Sakuntala should write a love-letter that she will give to the
king hiding under flowers and thus she urges Sakuntala to write an elegant song that would convey
her feelings. Although Sakuntala approves her suggestion, she feels deterred by the apprehension
of being rebuffed by Duhsanta. Hearing this Duhsanta expresses his wonder at her quandary as he
thinks “A gem is sought for, it does not seek” and when her friends dispel her dichotomy, he feels
entranced on seeing her “passionate love” take the shape of a mantling blush on her cheek. Finally
in absence of any writing materials, Sakuntala incises her feelings on a lotus leaf in the following
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words: “I do not know your heart… as every part of me yearns to be one with you.” Hearing this
confession of Sakuntala, the king unable to restrain himself any longer rushes out of his hiding
spot expressing his passion for her. This delights Sakuntala’s friends who after paying their
homage to the king urge the bewildered Sakuntala to move aside to enable Duhsanta to seat beside
her on the stone-slab. Priyamvada then insists the King to marry Sakuntala as it his duty “to relieve
the sufferings of the residents of a Hermitage” which he accepts with utmost ardour. Anusuya next
prays to him “not to bring sorrow and bitter tears to her kinsfolk” to which he replies that “none
but two shall be the glory and mainstay of our race- the Earth sea-girdled, and, this lady, your
friend.” When Duhsanta asks for “a place on this bed of flowers” to allay his weariness, her friends
starts teasing Sakuntala but they finally depart to provide her privacy with the excuse of returning
a lost fawn to his mother.

As Sakuntala feels flustered on being left alone, Duhsanta tries to ease her by offering to
fan her and press her lotus-pink feet. When she tries to leave he attempts to discourage her by
reminding her of her fragile constitution and the “fiery noonday heat.” But she states that she is
not the mistress of her own Fate-a confession which leads the king to ponder that virgins like her
“torment Love, letting the moment slip by; …..though longing for the pleasures of union.” Fearing
lest she departs, Duhsanta tries to prevent her by seizing her garment which exasperates Sakuntala.
The king following her at her heels try to diffuse her reservations by stating that they might be
married “by the Gandharva rite”- a proposal she shuns with the excuse that they are merely
acquainted by conversation. But Duhsanta persists by saying that she will “never go from my heart,
as the shadow of the tree at evening never leaves its base on the eastern side.” Although Sakuntala
departs she is unable to leave and hides behind an amaranth hedge to observe his feelings. The
king languishes in Sakuntala’s absence, who he accuses of being hard-hearted but on finding the
“bright bracelet of lotus-stalk fragrant with Urisa-balm from her body” clings to the “insentient
thing” for consolation. Unable to control herself any longer, Sakuntala approaches Duhsanta on
the pretext of getting back her “bracelet that had slipped off my arm”. But the rapturous king
pledges to give it back only on the condition “That I myself restore it to the place it once occupied.”
Finding no other way left, Sakuntala sits down beside Duhsanta on the stone-slab who then takes
hold of her hand describing it as “a shower ambrosial”. When Sakuntala urges him to hurry, he
deliberately delays the process describing it as a “syama-vine” on her lovely arms. She then
complains of the pollen-dust of the lily that had fallen into her eyes which he offers to blow away.
But she resists on the plea that her excessive gallantry doesn’t allow her to trust Duhsanta- an
opposition he dismisses and blows it away while being captivated by her alluring lips and lily-like
eyes. Sakuntala implores her incapacity to repay his favour to which he replies -“is the honey-bee
not well-content with the mere fragrance of the lotus?” and decisively brings his face close to hers.
Just then the voice of Gautami is heard offstage coming in their direction to fetch Sakuntala.
Hearing her voice Sakuntala advices the king to hide behind a tangle of vines to which he adheres.

Gautami enters with a goblet of sanctified water and sprinkles it all over Sakuntala praying
for her long and happy life. After coming to know about Priyamvada and Anusuya from Sakuntala
and enquiring about her health, she commands Sakuntala to return with her to the cottage as night
was falling. This toll for parting awakens a sharp piercing agony in her initially “coward” heart as
she regrets the separation from Duhsanta and bids him farewell with the desire to “meet again and
enjoy your company.”
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The king soon returns to his former seat and languishes over the departure of his beloved
clinging to her relics: “the bed of flowers crushed by her body” and “an ornament of fine lotus-
stalks”. He further reflects on his delay in fructifying his cherished desires, averring not to
imprudently lose time when he meets her next as “happiness, as a rule, is hard to come by.” At this
moment a supplication in the air is heard that implores Duhsanta to protect the ascetics performing
the evening rituals as they are endangered by the lurid demons who “prowl and press round the
altars.” Hearing this Duhsanta immediately and resolutely leaves the arbour to aid them which
brings the third Act to a close.

ACT FOUR: “SAKUNTALA’S DEPARTURE”:-

This Act, set against the backdrop of the Hermitage, begins with a Prelude spoken by
Sakuntala’s friends while they are gathering flowers. Anusuya states that while she is delighted in
Sakuntala’s marriage to a worthy husband of her own choice, she is perturbed by the thought that
since the Royal Sage had returned to his Capital after “the successful completion of the Sacrifice”,
he might become oblivious of the incidents of the Hermitage amidst the company of his exquisite
Queens. But Priyamvada assures her of Duhsanta’s noble personality and intentions expressing
her own concerns about Kanva’s reaction to the recent state of affairs. Nevertheless Anusuya
comforts her by saying that as a parent always desires a decent and worthy groom for his daughter,
Kanva too would congratulate himself for this apposite union. No sooner did they start collecting
“flowers for the adoration of Sakuntala’s goddess of Fortune who watches over her marriage”,
they hear an infuriated guest cursing Sakuntala for her failure in entertaining him due to her absent-
mindedness. Angrily he curses her that as she is engrossed in the “thoughts of one to the exclusion
of all else”, she will be obliterated from his memory forever. Hearing this and coming to know
that the reverend guest was “the great sage Durvasa quick to anger”, Anusuya hurries off to
appease him by falling at his feet while Priyamvada decides to fetch water and guest-offering for
him. But an ill-omen befalls her as she stumbles over scattering all the flowers from her basket.
Just then Anusuya returns with the news that after much assuaging he said that the curse will be
revoked the moment Sakuntala presents “some ornament as a token of recognition” to Duhsanta.
This consoles both of them as they remember the signet-ring that the king had left with Sakuntala
before departure. Then on perceiving Sakuntala’s bemused condition, they decide to keep this
incident a secret from her in order to spare her the terrible shock which marks the end of this
Prelude.

One of Kanva’s pupils enters to ascertain the time according his master’s command and on
noticing the simultaneously setting moon, which after traversing “the middle regions of Vishnu’s
abode” now “fall down the sky” like the descent of a great man and the rising Sun, flushing “the
dew on the jujube trees” that “regulate the vicissitudes of life on earth” falls in a trance. He then
departs to inform the “Preceptor that it is time for the oblations to the Sacred Fire.” Next Anusuya
enters the scene pondering over the king’s failure in sending for Sakuntala who now bears his
child. She thinks that this could be caused by the curse and reflects on sending him the token before
Father Kanva becomes aware of the current convoluted circumstances. At this point Priyamvada
informs her that the festive ceremonies for Sakuntala’s departure are on as Kanva has already been
alerted to the present situation by a bodiless voice as he was entering the Sanctuary of the Mystic
Fire. It informed him that Sakuntala was holding “Duhsanta’s glowing energy pledged for the well-
being of the world”- a report that elated Kanva. Hearing this news the overjoyed Anusuya requests
Priyamvada to wrap the Kesara garland in lotus leaves after taking it down from the palm-basket
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from the mango tree and prepare all auspicious materials like holy earth and Durva sprouts for the
occasion. Soon a voice off-stage bidding all hermits to escort Sakuntala and her friends coincide
with the wives of the sages invoking blessings for Sakuntala “holding grains of wild rice sanctified
by prayers in their hands.”

While the overwhelmed Sakuntala is blessed with boons of a healthy son and happy life
by the ladies and her friends adorn her with the auspicious cosmetics, a hermit boy enters with rich
ornaments for her which astonishes everyone. When Gautami enquires Harita about the jewels, he
informs everyone that as he went to the forest to fetch blossoms for her according to Kanva’s
instructions, he found trees and woodland nymphs offering silk garments, tint and rich gems
befitting the occasion. Then he departs to convey the good omen to Kanva engaged in his ablutions
in river Malini while her friends start adorning her as per their knowledge of paintings.

At this juncture Kanva enters inundated with unbearable grief over his daughter’s parting
and after blessing her on Gautami’s request he urges Sakuntala to go round the sacred fires. He
even chants the Vedic mantras to drive away all evils from Sakuntala’s path and orders Sarngarava
and his companions to escort her. Kanva also appeals to the Holy Grove and its indwelling
divinities to grant Sakuntala leave now, who had never plucked their tender blossoms or drunken
water before watering them. And his prayers are answered by them in the form of a koel’s song
and invisible spirits singing to wish her a happy journey where her path will be strewn with lotus-
lakes and pollens instead of dust and even the burning sun will be mellowed by pleasant breezes.
Sakuntala not only pays her homage to these divinities but also expresses her “painful reluctance”
in leaving the Hermitage. Priyamvada answers her grief by saying that her pain is equally
reciprocated by the Holy Grove that sheds its leaves as well as the peacocks and does who knows
that her parting-hour is near. Suddenly recollecting Madhavi, the jasmine vine Sakuntala moves to
it and urges Kanva to take care of her woodland sister, to which he kowtows by pledging to unite
it with the mango tree. And on observing her friends breaking down into tears before Sakuntala,
Kanva rebukes them advising them to firmly support her.

After that Sakuntala urges her father to inform her when the doe fawns safely and feeling
someone tugging at her garments she recognizes it as the motherless fawn that she had
affectionately reared up by feeding millet and healing with the ingudi oil. She then disposes it in
her father’s care and as she proceeds with tear-stained eyes, Kanva counsels her to take care of her
faltering steps on the uneven path. Soon they reach the lake’s edge and Sarngarava urges Kanva
to turn back from that point. Kanva retires into the shade of a fig tree and while he muses upon “a
suitable message to send to His Honour Duhsanta”, Anusuya informs Sakuntala about the grief-
stricken cakravaka who refuses to answer the heart-rending call of his beloved only to gaze at
departing Sakuntala. Kanva asks Sarngarava to carry the message that considering their self-
restraint and his “exulted lineage” as well as Sakuntala’s spontaneous love, Duhsanta must treat
her “as worth equal esteem as your other consorts”. He then advices Sakuntala that if she is to
“attain the status of mistress of the home”, she must serve her elders diligently, befriend her co-
wives, be courteous and well behaved towards her husband and never be inflated with pride and
smugness. With these parting advices he instructs Gautami to accompany her.

As soon as Sakuntala starts to weep bitterly feeling like a “sandalwood tree uprooted from
the side of a Malaya mountain”, Kanva consoles her with the assurance that as she will soon
become occupied in great imperial matters and give birth to a son, she will shortly forget this
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temporary grief. When she bids farewell to her friends they advice her to show the ring to the king
proviso Duhsanta is slow in recognizing her. This suggestion petrifies Sakuntala. Then she eagerly
asks her father when she might return to the Hermitage again, to which Kava replies that when she
will settle as Duhsanta’s wife and give birth to a valiant son, they might come to the Hermitage to
seek tranquility. Gautami on noticing the delay pleads Kanva to turn back who sighs deeply and
expresses his sorrow by stating that when grains of wild rice spread by Sakuntala will sprout forth
green shoots, he will miss her. Finally, Sakuntala leaves after taking his blessings followed by her
friends sorrowfully until Kanva restrains and commands them to come with him. But they refuse
to enter the Holy Grove which according to them would be desolate in Sakuntala’s absence.
However Kanva ascribes their feelings to their excessive affection for Sakuntala. He also
deliberates on the peace that he had earned by sending his spawn “to him who took her by the
hand” as daughters are like somebody else’s wealth which to be restored to its original owner at
the opportune moment. Thus, here ends the fourth Act on a note of assorted contentment and
disappointment.

ACT FIVE: “THE REPUDIATION OF SAKUNTALA”:-

This Act commences with the Royal Chamberlain mulling over his ageing body which now
requires the support of the ceremonial staff that he had once received when he was elected for his
post in the youth. Not only his body but he believes that age has taken a toll on his mind too as he
initially couldn’t recollect the purpose of visiting the king in his Inner Apartments, i.e. to inform
him about the visit from the ascetics of Kanva’s Hermitage. Seeing the wearied king he compares
Duhsanta with the lord of the elephant’s herd, who after caring for them seeks shelter in some
shady site. Though he in the beginning hesitates to approach him as the king had just risen from
his seat of judgment, he finally convinces himself with the logic that being one of the protectors
of the Earth like the eternally revolving Sun, the blowing fragrant wind and the Cosmic Serpent
bearing the Earth, he is too bound by the Law that dictates that the Guardians cannot rest.

With his retinue and the jester enters Duhsanta expressing his weariness caused by the
administrative duties associated with his throne as “Kingship, like an umbrella held in one’s own
hand tires more than it removes tiredness.” Even the two bards off-stage hail the king commending
his sincerity as he like “the tree bares its crown to the blazing heat while it refreshes those who
shelter in its shade.” Thus he seems to be one in whom “all find kingship’s perfect patterns.”
Revived by this praise, he sits down with his jester while a lute plays in the background.

Listening intently to the pure and clear song of Queen Hamsavati on her Vina which tells
about the “honey-pilfering bee” that after sucking the sweet nectar has forgotten about its source,
i.e. the mango flowers and has decided to reside within the full-bloomed lotus, the king understands
its implication. Hence he commands Madhavya to go and articulate to her in his “cultivated man-
about-town” manner that the king had understood the subtle reproach hidden in her melody.
Although Madhavya is initially hesitant, under Duhsanta’s ordeal he leaves grudgingly for the
Queen’s apartment. After his departure Duhsanta becomes bewildered by a sudden paroxysm of
sorrow that grips his heart though he fails to come to a definite reason behind his atypical state of
mind. At this moment the chamberlain informs the king about the arrival of the hermits, who
commands him to ask the Preceptor to welcome them with all due rites and bring them to his
presence. After the chamberlain leaves, he accompanied by Vetravati arrives at the terrace of the
Fire Sanctuary, newly washed with the holy cow standing nearby. He then eagerly questions her
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about the reason of their arrival: whether their sacred penances had been defiled by some
impediments or some evil had befallen the creatures residing in the Holy Grove or it was his
mistake that had brought these holy sages there? But Vetravati, like a faithful servant dispels all
of Duhsanta’s fears.

As the ascetics enter accompanied by Sakuntala and Gautami, Sarngarava tells Saradvata
that although Duhsanta’s kingdom operates by the Laws of nobleness and rectitude, his “continual
solitude prompts me to view this place….as a house encircled by blazing flames.” Saradvata too
ascribes the discomfort to his own uneasiness with those “bound to the world.” But Sakuntala’s
right eye starts throbbing portending some evil which Gautami tries to avert with her blessings.
When the ascetics enter, the king after paying his homage is attracted towards Sakuntala’s beauty
looking like “a tender sprout in the midst of ascetics” but he immediately restrains his senses as he
considers it as an act of culpability to “stare at another’s wife.” Soon after the formal greetings are
over, Duhsanta desires to know the message of Kanva and when Sarngarava informs him about
the purpose of their visit, he to Sakuntala’s greatest distress questions: “What kind of proposition
is this that is being placed before me?” Hearing this Sarngarava at first tries to convince him of the
seriousness of the situation by reminding him of the position of abandoned women in society and
then accuses him of fickleness. Lady Gautami intervenes and orders Sakuntala to unveil herself so
that the king might recognize her but under the impact of the curse, Duhsanta’s mind remains
shrouded in obscurity and ignorance. Seeing him reluctant to accept the truth Sarngarava hurls
allegations at him but Saradvata restrains him and urges Sakuntala to speak. The distraught and
flustered Sakuntala inquires Duhsanta the reason behind his strange behavior when he had himself
deceived her in the Hermitage. To her greatest astonishment Duhsanta charges her with the sin of
sullying her honour and his name “like a river that crumbles its banks to muddy its crystal stream,
and uproots the tree growing by its edge.” She then proceeds to prove the honesty of her words by
showing him her ring but finding it missing looks at Gautami with a traumatized expression. When
Gautami tells that it must have slipped off into the waters of Saci pool when Sakuntala had
immersed herself in it, Duhsanta flouts this as “a good example of ready wit.” Next Sakuntala tries
to remind him of the incident where he tried to make the little fawn, ‘Liquid Long-eyes’ drink
water from a lotus cup which it refused as he was a stranger but had agreed to drink the moment
she held the cup which led Duhsanta to comment: “you are both creatures of the wood.” But
Duhsanta alleges Sakuntala of “intuitive cunning” like the cuckoo bird who “has her young reared
by other birds before they take to the air.” Hearing this Sakuntala retorts angrily calling him “a
well covered with grass…..practicing falseness while putting on the mantle of virtue.” Although
he is inwardly moved by “the spontaneous outburst” of Sakuntala, externally he pretends his
innocence. Perceiving that she is being proved “a self-willed wanton” in the open court, Sakuntala
starts crying bitterly. Sarngarava also accuses her for trusting someone so easily under the sway of
“unbridled impulse” and charging Duhsanta disdainfully for bringing about his downfall by
deceiving Sakuntala, he prepares to leave. When Sakuntala tries to follow them wailing over her
misfortune, she is prevented by Sarngarava who instruct her to court servitude in her husband’s
house if her conduct is pure. But the confounded king places this question before them: “should I
incur the blame of forsaking my own wife, or the stain of adultery, alas, with the wife of another?”
The High-priest proposes a solution to all his qualms. He says that since it was prophesied that his
first-born shall be Sovereign of the World, Sakuntala might be allowed to stay there until she gives
birth to her child. If he bears the marks of sovereignty then Duhsanta might allow her to his
Antapura, otherwise she will be taken back to the Hermitage. As he consents to this arrangement,
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Sakuntala burning with disgrace exits with the sages desiring to end her life by returning to Mother
Earth.

Just after her departure, mystified Duhsanta continues to ponder over the recent incidents
when suddenly the High priest enters in great astonishment. He informs him that no sooner had
the ascetics left that Sakuntala had raised her hands and prayed to heaven when “A flash of light
in a woman’s shape from Apsara pool, snatched her up and vanished straightaway.” Hearing this,
the king dismisses him and proceeds towards his bed-chamber musing: “the poignant ache in my
heart validates it seems, the truth of her assertion that I had.” This disturbed rumination of
Duhsanta, highlighting the turbulent psyche of the cursed king heralds the end of this Act.

ACT SIX: “SEPARATION FROM SAKUNTALA”:-

This Act, set in Duhsanta’s Capital begins with Chief of the city-police and two policemen
thrashing a prisoner for the theft of the “Royal Signet-Ring with a priceless gem and the king’s
name engraved round it in the setting.” But the man narrates his pathetic tale that convinces the
police officers of his innocence. He states that he is “poor fisherman living at Sakravatara” who
follows his hereditary profession to support his family. One day when he was cutting the big carp
into pieces, he noticed the Ring in its belly and decided to make some profit out of it. But as was
hawking it, he was caught by the officers on the wanton charge of theft. Telling this he leaves it
on his persecutors to “either you kill me, or, you set me free.” Although the policemen distrusting
his tale, initially taunt him regarding his profession which the fisherman defends on the grounds
of heredity saying that even “the most soft-hearted of the butchers engages in the cruel job of
slaughtering animals”, the Chief observing stink of raw fish pouring out of the ring decides to
present the case before the king. So after commanding them to wait outside the tower-gate on
guard, he leaves for the palace. While they were waiting impatiently and pondering over finishing
the cut-purse, they notice the chief coming towards them with a letter in his hand which they take
to be the Royal Decree for delivering him to “the fangs of bloodhounds” or “the vultures”. But the
Chief quite unexpectedly commands them to release him and gives him a royal reward equivalent
in value to the Ring as that had aided the king in recalling his love for Sakuntala. When Januka,
one of the officers glares resentfully at the unprecedented fortune of the poor fisherman, he
instantly grasps its implication and offers them half of his wealth. Receiving the bribe the delighted
officers then propose to become friends with the fisherman and leave with him for the tavern to
celebrate their new camaraderie “with some good flower-wine” drawing the Prelude to an end.

This is followed by the entry of the Apsara, Misrakesi in the Pleasure Gardens of the palace.
She comes there after performing her duty of guarding the Apsara pool during the pilgrimage
seasons to examine the condition of Duhsanta for the sake of Sakuntala, daughter of her dear friend
Menaka, on her request. But on noticing no preparations for the festivities there, she decides to
study the situation invisibly from the two girls tending the garden. First Parabhtika enters admiring
the mango blossom, “auspicious harbinger of the festival” of spring. Then Madhukarika enters
and on coming to know that the “time to dance with glancing movements and sing your rapturous
melodies” is here, requests Parabhtika to support her in plucking “one little mango blossom” for
offering it to the God of Love. And presenting it to Him she prays “to aim at the young wives of
men who travel far” his love-arrows. Just then the infuriated Chamberlain enters forbidding them
from celebrating the season respecting the king’s Decree which even the Nature seems to obey as
the Mango and amaranth buds are “tight-folded in their sheaths” and “the melodious koel strangles
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its throat.” On hearing this they after apologizing, urge to know the reason behind the king’s
decision as they had been engaged to wait upon the Queen, Mitravasu, the Inspector-General’s
sister over the last few days in the garden which had prevented them from receiving the dictate.
The Chamberlain informs them that after recollecting how he had repudiated Sakuntala, his legally
married wife the king “has been struck with bitter remorse” that leads him to “loath all beautiful
things”, to spend restless nights and remain “long plunged in painful embarrassment.” And thus
he has declared an inhibition over all seasonal celebrations.

Just then Duhsanta dressed in murky attires enters accompanied by Vetravati and
Madhavya. Observing him the Chamberlain extols his radiating beauty “notwithstanding his
grief”. He appeared to the Chamberlain “like some magnificent gem cunningly fined down and
polished with exquisite art” inspite of his unadorned and wasted body, blanched lips and wakeful
eyes. Duhsanta enters pining for his lost beloved and commands Vetravati to carry his instructions
to Pisuna, the Chief-Minister that after spending a “long sleepless night” he feels unfit to preside
over the Hall of Justice and so he might present all the petitions to him in written form. After his
attendants depart, the king expresses his extreme misery before Madhavya: “I weep for her with
remorse and longing, now that the fragrant month is here with its joys.” Then reminded by his
jester about his desire of spending time in the jasmine bower with the portrait of his beloved,
Duhsanta retires to the secluded spot followed furtively by Misrakesi. There he mournfully
recollects his first meeting with Sakuntala and regrets the time when he spurned her in
forgetfulness. He asks Madhavya the reason behind his silence on this matter and eagerly requests
for his help as Sakuntala’s distress “burns me like a poisoned dart.” The jester after counseling
him to remain strong as “mountains stand firm in the fiercest storm”, enquires him about the
circumstances of her disappearance. When he gets to know that it was the action of Menaka’s
celestial companion, he assures the king of being reunited with Sakuntala at the appropriate
moment. But the inconsolable king feels that like the ring that had fallen from “a high place on her
fingers”, his desires have fallen “off the edge of a precipice.” And to quench Madhavya’s curiosity,
he states that he had presented Sakuntala the ring before departing, assuring her that he would send
for her an escort the day she completes counting the letters of his name one by one. He then starts
reproaching the ring for slipping from her finger but ends in reproaching himself.

At this juncture Caturika enters with the portrait of Sakuntala which immediately captivates
Duhsanta by the “dazzling beauty bursts[ing] forth in streaming rays.” As he pines about her
absence, Madhavya enquires the identity of Sakuntala amidst the three maidens in the painting.
Duhsanta urges him to guess and Madhavya deduces that “standing by the side of the Asoka
tree…..looking rather tired –this, is the Lady Sakuntala.” Appreciating his shrewdness, Duhsanta
then enquires him if he could identify his fingerprints and tear-stain blistering the paint in it which
symbolize his poignant passion for her. He also commands Caturika, after taking the painting from
her, to fetch his paints as the landscape was still incomplete. Next he proceeds to tell Madhavya
about the details that he desired to incorporate in the image: Malini’s stream with wild-goose pairs
resting on sandy banks, “the holy foothills of Gauri’s parents where deer recline”, “a doe rubbing
her left eye against a blackbuck’s horn” and finally Sakuntala’s ornaments- Sirisa blossom for her
ears and a lotus-necklace lying between her breasts. Noticing Duhsanta chastising an impertinent
Honey-bee encircling Sakuntala’s picture, Madhavya feels that the king is losing his sanity. But
when Madhavya awakens him to the reality by reminding him that it was only an image of
Sakuntala, the king breaks down into tears mourning his helplessness to enjoy her company even
in his thoughts, perceiving which even the hidden Misrakesi feels sympathetic towards his
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deplorable condition. At this point Caturika enters and informs the king that as she was
approaching with the paints, Queen Vasumati accompanied by Pingalika interrupted her and tried
to snatch the box from her but as her veil was stuck in a branch, Caturika utilizing the opportunity
escaped. Hearing this Duhsanta beseeches Madhavya to hide the portrait in the Palace of Clouds.
After his departure Vetravati enters with a letter from Pisuna informing the king that as he was
occupied with his revenue duties, only one civil case has been reviewed whose documents he had
sent for the king’s consideration. Vetravati also tells him that the Queen on noticing a document
of administrative importance in her hands had turned back to avoid intervening in any of
Duhsanta’s courtly business. He reads the documents which reveal to him that a wealthy merchant,
Dhana-Vredhi has died in a shipwreck but as he is childless the settlement of his property is a
predicament to which Duhsanta’s decision must be the absolute. He then knowing that one of his
wives had recently “had her Pumsayana rites duly performed” commands to bestow the property
upon the unborn child but soon revokes it and proclaims: “Whosoever suffers the loss of one dearly
loved shall find in Duhsanta one to take his place in all relations deemed lawful and holy.”
Although the attendant informs him that the “proclamation was received with joy by the leading
citizens, like rain at proper time”, it plunges him in the abyss of despair as it reminds him of his
own childlessness as he had turned back on his own Fortune. Seeing his depression the attendant
leaves to fetch Madhavya to cheer him up. But before she brings him, Duhsanta, being
overburdened with anguish about the ancestral libations and the destruction of Puru linage loses
consciousness. Considering the crest-fallen situation of Duhsanta, Misrakesi initially deems it
important to relief him of his despondency but then thinks otherwise as she had heard the Mother
of Gods say that “the gods themselves in their concern for the continuity of their sacrifices and to
secure their own share in them, would see to that before long, her lord welcomes Sakuntala as his
lawful wedded wife.” Thus she ascends into the sky and flies away to acquaint Sakuntala with the
happy turn of events.

Soon Madhavya’s piteous call for help is heard off-stage and Duhsanta thinking it for being
“caught red-handed by the worthy Madam Pingalika with the painting in his possession”,
commands Caturika to convey his displeasure regarding the insolence of her maids to the Queen.
As Madhavya’s heartrending cries are heard repeatedly, Duhsanta sends the old Chamberlain to
investigate the situation. He returns trembling “like a pipal tree, shaken by the wind blowing
through it” and reports the king that some invisible evil spirit had carried Madhavya to the
uppermost turret of the Palace of Clouds. Taking it to be the consequence of some error that had
been committed unwittingly, he hurries to the spot with his bow where he hears an imperceptible
voice threatening to kill the jester “as a tiger kills the animal struggling in its grasp.” But when he
reaches the intended place, finding no one he decides to activate his missile that will slay only the
spirit but leave Madhavya unharmed “just as the swan only takes in milk and leaves the water
mixed with it behind.” However as he aims his arrow, Matali, the charioteer of Indra enters with
Madhavya saying “The noble direct towards their friends serene eyes and gentle-not cruel arrows”.
He then tells him that he had been sent there by Lord Indra to fetch Duhsanta to exterminate the
“race of Titans, the invincible brood of the demon Kalanemi” as they are predestined to be
destroyed only by him “in the battle’s forefront.” Before conforming to his appeal, Duhsanta
desires to know the reason behind his vicious conduct with Madhavya. To this he says that just as
“A fire stirred blazes brightly, a cobra provoked spread its hood; every form of life possessed of
energy glows into brilliance invariably, when roused”, his act was directed to rouse the king’s
anger that would dispel his deep dejection for his beloved. Hearing this Duhsanta after
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commanding Madhavya to acquaint Pisuna with the circumstances and asking him to rule with
wisdom, ventures to materialize the Lord’s ordeal which terminates this penultimate Act.

ACT SEVEN: “SAKUNTALA’S PROSPERITY”:-

This final Act set against the dual locations of the celestial regions and the Hermitage of
Marica begins with the entry of Duhsanta and Matali by the Aerial path. While Duhsanta expresses
his greatest approbation for the unparalled Honour bestowed upon him by Lord Indra for
accomplishing the task he was assigned, Matali seeing “neither of you [them] feels truly gratified”
states that both Duhsanta and the Lord believe their obligations inadequately executed. To this
Duhsanta replies that the tribute of making him share his Royal seat and placing the Mandara-
garland, rubbed with the golden sandal round his neck in the presence of all Immortals seemed
beyond his “wildest expectations.” But Matali says that he deserved it since he had freed Paradise
from the wrath of lion-like Titans. Duhsanta then dedicates all the credit of his success to “the
glory of the Lord of Hundred Powers” for leading his way as Aruna had guided Lord Krishna.
Travelling a little further, Matali shows Duhsanta the commendation-inscribed scrolls hanging
from the Wish-Granting Vine that poeticized his glory, composed by the celestials “With pigments
left from cosmetics blended for the lovely women of Paradise.” Next Duhsanta expressing an
indefinable tranquility inquires about the Path of the Seven Winds on which they were trailing
along. Matali describes it as “The Path of the Wind Pravaha, hallowed by Vishnu’s wide-stepping
second stride” which “bears along the Triple-streamed Ganga” and “propels on their circling
course the luminous orbs of the sky.” The king presently on observing the mist-sprayed chariot
wheels, horse glean “bathed by flickers of lightning” and cataka birds puts the question if they are
traversing the Path of the Clouds to which he receives an affirmative reply. Glancing down again
the king observes the rapidly amplifying view of the Earth with its mountains escalating upwards,
dense leafage emerging as distinct trees and fine silver streaks metamorphosing into brimming
rivers. He at that moment notices a marvelous mountain range basking in “liquid gold” and
extending “into the eastern and western oceans”. As he expresses his curiosity regarding this site,
he is told by Matali that it is “Hemakuta, the home of Kimpurusas” where “The Lord of Beings,
born of The Light sprung from the Self-Existent Itself…..the revered Parent of Gods and Titans”
leads a life of penance. When he communicates his desire to pay his homage there, Matali lowers
the chariot and Duhsanta becomes baffled by the smooth descent of the extraordinary vehicle of
the Lord of Heroic Fury. He then inquires about the whereabouts of the Hermitage of sage Marica
to which Matali points to “Where stands that sage, still as a tree stump…his form half-buried in
an ant hill, with the slough of a snake a second sacred thread,…and wears coiled on his head a
tangled mass of mated hair…that fall loose about his shoulders.” Bowing humbly before him, they
then dismount near the penance groves which were tended by Aditi, Marica’s consort. Duhsanta
becomes mesmerized on witnessing the marvelous spot where amidst jeweled caves, celestial
nymphs and wish-granting trees meditation is performed and holy waters “glow with a sheen of a
host of golden lotuses”- a perfect life for the ascetics. Matali after enquiring sage Sakalya comes
to know that Lord Marica was occupied in expounding the conduct of a virtuous wife to Aditi,
daughter of Daksa and the other ladies of the Hermitage.

No sooner did Matali exit to announce their arrival to the Lord, Duhsanta first experiences
a throbbing of his arm- a good omen and then hears the voice of hermit women rebuking a child
as he dragged a lion’s cub “roughly from its mother’s half-sucked teat” for amusement. Seeing
them reproving this errant child named Sarva-Damana, Duhsanta feels an inexplicable affection
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for him who appears to the king “as the tiny gem of mighty valour that waits like a fiery spark for
kindling, before it bursts into a blazing fire.” One of the hermit-women tries to fob him with the
fake promise of something else but the boy shrewdly stretches his hand for it and instantly
Duhsanta notices the mark of the Sovereign of the World on his palm resembling “a single lotus
bud, its petals tightly shut, just prized open by Dawn’s first flush of rose.” Another hermit-woman
addressing the first as Suvrata, then asks her to give him from her cottage “a clay peacock painted
in many colours that once belonged to Mankanaka, the child of one of the hermits.” Observing this
sight, the childless king suffers a strange sense of vacuity whilst the hermit-woman urges him to
aid her in tackling the truant child. While acquitting the cub, he asks the child the reason of his
wantonness, who behaved “like the young of a black serpent that spoils for other creatures, the
pleasant sanctuary that is the fragrant sandalwood tree?” Suddenly the hermit-woman exclaims
her astonishment at the likeness of appearance between them which leads Duhsanta to enquire
about his parentage. His dormant hopes are abruptly stirred by the reply he receives- she tells him
that the child is the son of the Puru dynasty and the daughter of an Apsara, who was abandoned
by his husband. Although Duhsanta feels eager to know her identity, he restrains himself on the
grounds of impropriety. At this point Suvrata enters with the peacock calling it “sakunta” that
provokes the boy to cry out, “Mamma, Mamma where is she?” which leads Duhsanta to presume
that it might be his Sakuntala, although he considers the fact that “it is not an uncommon name.”
When the hermit-women notice that his protective amulet is missing, they raise a commotion but
are soon soothed by Duhsanta who picks up the talisman lying on the ground. Witnessing this act
they are stunned and when he enquires the reason of their alarm, they inform him that the amulet
is “made out of a herb of immense virtue, named ‘Invincible’” and “no one except himself (Marica)
or his parents can pick it up.” If done it turns “into a serpent that bites him.” Hearing this, the
overjoyed Duhsanta embraces the boy who attempts to release himself saying “You are not my
father; Duhsanta is my father” which clears the last remnants of doubts from the euphoric king’s
mind.

Duhsanta then perceives Sakuntala entering “Dressed in dusky garments, her face fined
thin…her hair bound in a single braid” and feels as if “Rohini in conjunction with the Moon [is]
appearing at the end of the eclipse.” Though she initially fails to recognize him, she ultimately
identifies him to be Duhsanta and breaks down into tears unable to contain her emotions any
longer. He then apologizes from Sakuntala by falling at her feet for his perverse response on that
fateful day when he behaved like a blind man who tears away the wreath believing it to be a snake.
Lifting the king with compassion, Sakuntala asks him about the circumstances that had kindled his
shrouded memory. Duhsanta wipes her tears and shows her the ring while narrating the past events.
But when he proposes to return the ring to Sakuntala, she denies it. Just then Matali enters
congratulating the king on the reunion and urging him to visit Holy Marica, towards whose cottage
they all advance together.

When Marica enthroned beside Aditi notices Duhsanta, he introduces his wife to the Lord
of the Earth, whose bow had reduced “the myriad-pointed thunderbolt of the Lord of the Riches”
to a mere ornament. And after coming to know from Matali that they are “sprung from Daksa and
Marici”, “The cause of Effulgence that manifests Itself in Twelve Forms, Who begat the Protector
of the Triple World and Ruler of Gods offered oblations, in Whom the World’s Self, higher even
than the Self-Born placed Itself to be born in the World”, he pays his reverence to them who bless
him and Sakuntala in return. Sitting down before the Holy presence, Duhsanta after narrating the
incidents preceding his arrival to the divine Hermitage eagerly urges Marica to tell him the cause
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that had led to the lapse of his memory stirring his strange behaviour “as a man [who] sees an
elephant pass by before his very eyes but doubts its existence”. Marica tells him that his delusion
was normal as it was caused by the curse of Durvasa which leads Sakuntala to recollect her friend’s
caveat and realize her own laxity as its cause. Marica also asks Sakuntala not to foster any
resentment towards Duhsanta as his tarnished mind has been polished now since the darkness of
the curse is lifted. He even informs them that their son shall rule over “the rich Earth with her
seven continents” and will come to be proclaimed as “Bharata: He who bears the world.” Aditi
then inquires that although Menaka is aware about the current situation, should they not inform
Kanva about the fortuitous turn of events? Marica replies that as he possesses Divine Vision,
Kanva is conscious about his daughter’s fate. However he calls Galava, his disciple and commands
him to carry the news to the Holy Patriarch formally. Then Marica instructs Duhsanta to return to
his Capital with his family and establish a blessed state “woven of acts of mutual service” and
“enduring friendship” between the Gods and mortals. When he inquires Duhsanta about any other
blessing that he might desire, the exhilarated king requests to be granted the boon of these:

“May kings ever work for the good of their subjects:

May the utterance of those blessed by the Word

be ever honoured:

May the Self-existent Lord who unites in Himself

the Dark and the Light,

Whose Infinite Power pervades this Universe

annihilate the round of my births.”

This speech of Duhsanta terminates both the final Act as well as the play, creating a
resonance of delightful fulfillment and self-satisfaction that drags the drama from its incredible
height to the pragmatic soil of everyday existence thereby relating it to the emotional contours of
our contemporary minds. Duhsanta’s ultimate dialogue further testifies the philosophical
dimension that Kalidasa desired to append to his Sakuntala.

➢ CONCLUSION:
As a conclusion to this magnum opus of Kalidasa, it may be asserted that although this play
appears to be an exquisite amalgamation of the fantastic and the romantic, this is nothing more
than a subterfuge for the clairvoyant’s poetic vision. Infact, it magnetizes the contemporary minds
by virtue of the philosophical and existential matrix it presents as well as the ‘Rasa’ that it brews
within its folds for the sensitive palates of its audience. Furthermore, it also transmits the almost-
elapsed history of the Indian culture and civilization to the modern students of literature. Thus
“Abhijnanasakuntalam” transcends the peripheries of a sheer literary piece and becomes the
microcosmic-miniature encapsulating the traditional history and culture of an entire Nation that
transforms Kalidasa, the poet into a poet-seer.
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