Courtesy : Mr.Gopala Krishnan
=========================
MAHAKAVI KALIDASA-1
Dear friends
I was having part of Kumara sambhavam as a lesson in my Malayalam text during
1958 while studying in standard IX. It was at that time I got introduced to the
great Sanskrit poet Kalidasa and a brief of his other works along with it.
Still as Nostalgia the classes taught by Sri Bala Krishna Pillai, Malayalam
teacher in the shed classroom of NSS High school Pandalam coming before my eyes.
(On those days the Malayalam teachers were called Pundits probably they were not
having graduation and teacher's training?) Recently I could gather a lot more
information about poet Kalidasa and his Sanskrit texts. Due to paucity of time I
could not compile. May I expect the posting will be interesting to many members.
1958 while studying in standard IX. It was at that time I got introduced to the
great Sanskrit poet Kalidasa and a brief of his other works along with it.
Still as Nostalgia the classes taught by Sri Bala Krishna Pillai, Malayalam
teacher in the shed classroom of NSS High school Pandalam coming before my eyes.
(On those days the Malayalam teachers were called Pundits probably they were not
having graduation and teacher's training?) Recently I could gather a lot more
information about poet Kalidasa and his Sanskrit texts. Due to paucity of time I
could not compile. May I expect the posting will be interesting to many members.
Sincerely
Gopala Krishnan
Gopala Krishnan
Kalidas-Introduction
Sanskrit is one of the oldest languages. It is the mother of several Indian
languages such as Hindi, Bengali and Marathi in the North. Kannada, Telugu,
Malayalam, Tamil languages of the South have also been nourished by it. In
fact in Malayalam language practically many words actually of Sanskrit are felt
as Malayalam now. Kalidasa was a great Sanskrit poet.
2. Who is Kalidasa?
Who is this Kalidasa? When did he live and where in India was his residence?
Much discussion has taken place for a long time now about his life and times.
But no definite answers are available.
Several legends have sprouted around him. For instance, one story says that he
was the son of a Brahmin and lost his parents while he was a baby of six months.
A cowherd brought him up; he had no schooling of any sort. At that time, a king
named Bheema shukla ruled over Kashi. He wanted his daughter Vasanti to marry
Vararuchi, a scholar in his court. But she refused saying she was a greater
scholar than he was. Vararuchi was furious.
One day, the King's minister happened to see this cowherd-boy sitting atop a
tree in a forest and attempting to fell the tree by axing its roots. " What a
fool! He should be an ideal husband to Vasanti!"
The minister brought the boy to the capital. The minister and Vararuchi
instructed the boy not to say anything except 'Om Swask" to any questions put to
him at the palace, dressed him up in elegant clothes and took him to the royal
presence. The boy was good-looking and they made Vasanti to believe that he was
a great scholar.
Vasanti married him and only later came to know of the truth. She was
grief-stricken. She was a devout worshipper of goddess Kali and taught her
husband to worship her. However, no amount of his devotional prayer could please
the Goddess and finally, he vowed to offer his life in sacrifice if She did not
bless him. The goddess relented and asked the shephered to open the mouth and
show his tongue outside. She inscribed some letters on his tongue. He then
became a great poet- scholar. Since goddess Kali blessed him, he assumed the
name of 'Kalidasa' (devotee of Kali).
This is one of the most popular legends about Kalidasa. (This is the story
taught to me in the highschool class also about Kalidasa)
There are several other stories but they lack authenticity.
languages such as Hindi, Bengali and Marathi in the North. Kannada, Telugu,
Malayalam, Tamil languages of the South have also been nourished by it. In
fact in Malayalam language practically many words actually of Sanskrit are felt
as Malayalam now. Kalidasa was a great Sanskrit poet.
2. Who is Kalidasa?
Who is this Kalidasa? When did he live and where in India was his residence?
Much discussion has taken place for a long time now about his life and times.
But no definite answers are available.
Several legends have sprouted around him. For instance, one story says that he
was the son of a Brahmin and lost his parents while he was a baby of six months.
A cowherd brought him up; he had no schooling of any sort. At that time, a king
named Bheema shukla ruled over Kashi. He wanted his daughter Vasanti to marry
Vararuchi, a scholar in his court. But she refused saying she was a greater
scholar than he was. Vararuchi was furious.
One day, the King's minister happened to see this cowherd-boy sitting atop a
tree in a forest and attempting to fell the tree by axing its roots. " What a
fool! He should be an ideal husband to Vasanti!"
The minister brought the boy to the capital. The minister and Vararuchi
instructed the boy not to say anything except 'Om Swask" to any questions put to
him at the palace, dressed him up in elegant clothes and took him to the royal
presence. The boy was good-looking and they made Vasanti to believe that he was
a great scholar.
Vasanti married him and only later came to know of the truth. She was
grief-stricken. She was a devout worshipper of goddess Kali and taught her
husband to worship her. However, no amount of his devotional prayer could please
the Goddess and finally, he vowed to offer his life in sacrifice if She did not
bless him. The goddess relented and asked the shephered to open the mouth and
show his tongue outside. She inscribed some letters on his tongue. He then
became a great poet- scholar. Since goddess Kali blessed him, he assumed the
name of 'Kalidasa' (devotee of Kali).
This is one of the most popular legends about Kalidasa. (This is the story
taught to me in the highschool class also about Kalidasa)
There are several other stories but they lack authenticity.
3 Kalidas and emperor Vikramaditya
It appears Kalidasa was at the court of emperor Vikramaditya. The place and time
of this king are also not definite. But it can be said with some certainty that
Kalidasa lived before the 6th century A.D., i.e., about 1400 years ago. But when
exactly he lived before the 6th century is not firmly established.
4. Kalidasa and Ujjayani
Though a deep affection for the city of Ujjain is discernible in his works, it
cannot be said with certainty that he lived there. But we can assume that,
wherever he may have been born, he had lived at Ujjain.
Kalidasa, however, had good knowledge of the whole of Bharat. In his poem
'Meghaduta', his descriptions of mountains and rivers and cities and villages
stretching from Ramagiri in Central India up to Alakanagari in the Himalayas are
very beautiful.
In another epic poem 'Raghuvamsha', Kalidasa, while portraying the conquests of
emperor Raghu, describes the places and peoples, their modes of living,
food-habits and trades and professions, rivers and mountains in almost the whole
country -- Assam, Bengal and Utkal in the East; Pandya and Kerala in the South
and Sind, Gandhara and other places in the North-west.
Reading these pen-pictures, one cannot help but conclude that the poet must have
had a personal knowledge of these areas. In short, he must have traveled widely
across the length and breadth of the land, seen those places, talked to the
people and studied their modes of living.
5. Kalidasa the great poet
Kalidasa possessed that distinct intellect which makes one a great poet. He was
a scholar and his works display his poetic genius as well as scholarship. Also
they are marked by a belief of what is good in life and people's noble goals of
life. He could describe the rich and wealthy life of a royal palace and the
serene, simple and peaceful life at a hermitage with equal understanding. He
could, likewise, describe the joys of the marital life of a man and his spouse
as well as their pangs of separation. He creates scenes of a serious and
thoughtful nature as also hilarious scenes of light comedy. In his works is
found an excellent combination of art-consciousness, unmatched word power and an
unparalleled capacity for vivid portrayals.
6. Seven Poetic works of Kalidasa
Kalidasa wrote seven works. 'Kumara sambhava' and 'Raghuvamsha' are his two epic
poems. 'Malavikagnimitra', 'Vikramorvashiya' and 'Abhijnana Shakuntala' are his
celebrated plays. 'Meghaduta' and 'Ritusamhara' are also poetical works of great
distinction.
I started my posting with reference to Kumara sambhavam. Let me so go about
Kumara sambhavam first
6.1 story of Kumara sambhavam
It appears Kalidasa was at the court of emperor Vikramaditya. The place and time
of this king are also not definite. But it can be said with some certainty that
Kalidasa lived before the 6th century A.D., i.e., about 1400 years ago. But when
exactly he lived before the 6th century is not firmly established.
4. Kalidasa and Ujjayani
Though a deep affection for the city of Ujjain is discernible in his works, it
cannot be said with certainty that he lived there. But we can assume that,
wherever he may have been born, he had lived at Ujjain.
Kalidasa, however, had good knowledge of the whole of Bharat. In his poem
'Meghaduta', his descriptions of mountains and rivers and cities and villages
stretching from Ramagiri in Central India up to Alakanagari in the Himalayas are
very beautiful.
In another epic poem 'Raghuvamsha', Kalidasa, while portraying the conquests of
emperor Raghu, describes the places and peoples, their modes of living,
food-habits and trades and professions, rivers and mountains in almost the whole
country -- Assam, Bengal and Utkal in the East; Pandya and Kerala in the South
and Sind, Gandhara and other places in the North-west.
Reading these pen-pictures, one cannot help but conclude that the poet must have
had a personal knowledge of these areas. In short, he must have traveled widely
across the length and breadth of the land, seen those places, talked to the
people and studied their modes of living.
5. Kalidasa the great poet
Kalidasa possessed that distinct intellect which makes one a great poet. He was
a scholar and his works display his poetic genius as well as scholarship. Also
they are marked by a belief of what is good in life and people's noble goals of
life. He could describe the rich and wealthy life of a royal palace and the
serene, simple and peaceful life at a hermitage with equal understanding. He
could, likewise, describe the joys of the marital life of a man and his spouse
as well as their pangs of separation. He creates scenes of a serious and
thoughtful nature as also hilarious scenes of light comedy. In his works is
found an excellent combination of art-consciousness, unmatched word power and an
unparalleled capacity for vivid portrayals.
6. Seven Poetic works of Kalidasa
Kalidasa wrote seven works. 'Kumara sambhava' and 'Raghuvamsha' are his two epic
poems. 'Malavikagnimitra', 'Vikramorvashiya' and 'Abhijnana Shakuntala' are his
celebrated plays. 'Meghaduta' and 'Ritusamhara' are also poetical works of great
distinction.
I started my posting with reference to Kumara sambhavam. Let me so go about
Kumara sambhavam first
6.1 story of Kumara sambhavam
It is one of the greatest works of Kavi Kalidasa. Some critics maintain that
Kalidasa wrote only the first eight chapters of the epic poem. The work
describes the marriage of Lord Shiva and his consort Parvati. It begins with a
fine description of that giant among mountains, the Himalaya.
Kalidasa writes: "Himalaya is rich in life. Living there are the Siddhas.
Kinnaras and Vidyadhara beauties. Clouds in front of the caves look like
curtains. You can trace the track of lions' by looking at the precious stones
spilled from the heads of elephants and not by bloodstains. You have to know the
paths they tread by recognizing 'Sarala' trees against whose stem the elephants
rub themselves attracted by the sweet milk exuded by the trees. All the things
needed for a sacrifice ('Yajna') are available here. Brahma (the God of
creation) himself has made this the king of the mountains." It is not only a
place for lovers who want to find happiness in life; it is also an ideal retreat
for those who want to meditate.
Parvati is the daughter of Parvataraja, the King of the Himalayas. In course of
time she blossomed into a girl of matchless beauty. She was very good-looking,
like a fine portrait drawn by a master-painter. Women wear jewellery with a
feeling that their beauty is enhanced by it. But the neck of Parvati appeared to
enhance the beauty of the necklace itself. Parvati's speech was sweet as the
playing of the Veena. And her bearing reminded one of a deer.
6.1.1 Part Played by Narada
Narada, the wandering sage once came to the court of Parvataraja, and predicted
that the king's daughter would marry Lord Shiva. But Parvataraja was doubtful
whether Lord Shiva would accept his daughter as bride. Neither he volunteered to
ask Shiva nor did the latter came forward to ask for the hand of Parvati. Shiva
was in penance atop one of the biggest mountains in the Himalayas.
6.1.2 Parvati serves Lord Siva doing penance
Parvataraja sent his daughter to serve the Lord who acquiesced to have her near
him. Parvati served him with utmost, pure hearted devotion; she would daily
cleanse his place of penance, and keep ready the articles of 'Tapas' like pure
water, leaves of grass, flowers, etc.
While Shiva sat thus in penance, a 'Rakshasa' named Tarakasura began to trouble
the Devas. They, in panic, went to Lord Brahma, the creator of the universe, and
sought salvation. He told them that Parvati has to marry Lord Shiva and that the
son born out of their wedlock would be able to defeat demon Taraka. But then,
how to make Lord Shiva, in deep penance to awake physically and consent to marry
Parvati?
Kalidasa wrote only the first eight chapters of the epic poem. The work
describes the marriage of Lord Shiva and his consort Parvati. It begins with a
fine description of that giant among mountains, the Himalaya.
Kalidasa writes: "Himalaya is rich in life. Living there are the Siddhas.
Kinnaras and Vidyadhara beauties. Clouds in front of the caves look like
curtains. You can trace the track of lions' by looking at the precious stones
spilled from the heads of elephants and not by bloodstains. You have to know the
paths they tread by recognizing 'Sarala' trees against whose stem the elephants
rub themselves attracted by the sweet milk exuded by the trees. All the things
needed for a sacrifice ('Yajna') are available here. Brahma (the God of
creation) himself has made this the king of the mountains." It is not only a
place for lovers who want to find happiness in life; it is also an ideal retreat
for those who want to meditate.
Parvati is the daughter of Parvataraja, the King of the Himalayas. In course of
time she blossomed into a girl of matchless beauty. She was very good-looking,
like a fine portrait drawn by a master-painter. Women wear jewellery with a
feeling that their beauty is enhanced by it. But the neck of Parvati appeared to
enhance the beauty of the necklace itself. Parvati's speech was sweet as the
playing of the Veena. And her bearing reminded one of a deer.
6.1.1 Part Played by Narada
Narada, the wandering sage once came to the court of Parvataraja, and predicted
that the king's daughter would marry Lord Shiva. But Parvataraja was doubtful
whether Lord Shiva would accept his daughter as bride. Neither he volunteered to
ask Shiva nor did the latter came forward to ask for the hand of Parvati. Shiva
was in penance atop one of the biggest mountains in the Himalayas.
6.1.2 Parvati serves Lord Siva doing penance
Parvataraja sent his daughter to serve the Lord who acquiesced to have her near
him. Parvati served him with utmost, pure hearted devotion; she would daily
cleanse his place of penance, and keep ready the articles of 'Tapas' like pure
water, leaves of grass, flowers, etc.
While Shiva sat thus in penance, a 'Rakshasa' named Tarakasura began to trouble
the Devas. They, in panic, went to Lord Brahma, the creator of the universe, and
sought salvation. He told them that Parvati has to marry Lord Shiva and that the
son born out of their wedlock would be able to defeat demon Taraka. But then,
how to make Lord Shiva, in deep penance to awake physically and consent to marry
Parvati?
6.1.3 Devendra and Kamadeva come to picture
Devendra the king of Devas found out a way. One of the Gods at his court was
Kama (Manmatha) whose wife was the beautiful Rati. Kama had the capacity to make
any one desire to marry. Devendra so commanded him to see that Lord Shiva would
develop a desire to marry Parvati. Kama, Rati and their friend Vasanta (Lord of
spring) set about the task.
Though it was not the season, Kama created all the glory and beauty of the
spring. Mild, pleasant breeze began to blow from the south. Flowers were
sprinkling down from 'Ashoka' trees. Birds and the bees began to savour the
fresh flower of the young mango leaves.
Devendra the king of Devas found out a way. One of the Gods at his court was
Kama (Manmatha) whose wife was the beautiful Rati. Kama had the capacity to make
any one desire to marry. Devendra so commanded him to see that Lord Shiva would
develop a desire to marry Parvati. Kama, Rati and their friend Vasanta (Lord of
spring) set about the task.
Though it was not the season, Kama created all the glory and beauty of the
spring. Mild, pleasant breeze began to blow from the south. Flowers were
sprinkling down from 'Ashoka' trees. Birds and the bees began to savour the
fresh flower of the young mango leaves.
But all this would not deter Lord Shiva from his penance. Kama went there. Shiva
was doing his penance sitting on a tiger-skin under a Devadaru tree. Kama was
overwhelmed on seeing the exquisite grace of Lord and the Cupid's bow and arrow
fell down without his being aware of it.
At this time, Parvati arrived on the scene to attend to her daily chores of
service to the Lord. She wore a saree coloured like the bright red rays of the
Sun. Nice spring flowers adorned her plait. A diamond chain shone on her
forehead. Her gait was like that of a delicate flower- creeper.
(An excellent description of beauty of Parvati is told in detail and part of it
was in my class text also. There was some allegation such a vivid description
should be in the text book of 9th standard student I recollect now!!) Seeing
her beauty Kamadeva got inspired he could accomplish the task better.
was doing his penance sitting on a tiger-skin under a Devadaru tree. Kama was
overwhelmed on seeing the exquisite grace of Lord and the Cupid's bow and arrow
fell down without his being aware of it.
At this time, Parvati arrived on the scene to attend to her daily chores of
service to the Lord. She wore a saree coloured like the bright red rays of the
Sun. Nice spring flowers adorned her plait. A diamond chain shone on her
forehead. Her gait was like that of a delicate flower- creeper.
(An excellent description of beauty of Parvati is told in detail and part of it
was in my class text also. There was some allegation such a vivid description
should be in the text book of 9th standard student I recollect now!!) Seeing
her beauty Kamadeva got inspired he could accomplish the task better.
MAHAKAVI KALIDASA-2
6.1.4 Kamadeva begins his assigned task
This great beauty of Parvati inspired Kama, who hitherto was somewhat, dejected,
again to strive to fulfil his task. Parvati raised her hands to offer her
garland of lotus flowers to Shiva who also eagerly came out of his penance to
accept the offering. Kama was waiting for such a moment and exercised his 'sword
of love'. Shiva eyed Parvati once and immediately realised that he had been
weaned away. From his penance. How could this happen?Kama, Cupid, was ready with
his and arrow for action.
6.1.5 Kamadeva become ashes
Lord Shiva was angry and opened his Third Eye. A great fire flowed forth. Kama
was burnt to ashes and Shiva then disappeared. Rati, seeing her husband
destroyed collapsed unconscious. Parvati's father sorrowfully took her to his
home.
Regaining consciousness after some time, Rati lamented that she too would end
her life. Then a voice from the sky told her that Kama would come back to life
when Lord Shiva married Parvati.
6.1.6 Parvati sit for penance
Meanwhile, Parvati sat for a highly strenuous penance. She set-up a huge fire
around her and standing amidst the fire in blazing Sun she started staring at
the Sun God. When rain came She sat unmoved in pouring rain and biting cold and
winds.
6.1.7 Lord Siva appear in disguise before Parvati as a young boy
To test Parvati engaged in such severe penance, Lord Shiva himself appeared
before her in the guise of a 'Brahmachari (a young lad who had his 'Upanayana'
or sacred thread ceremony) and began to pour abuse on Shiva thus; "Why do you
wish to accept the hand of one whose bracelet is a snake? Why do you, in
glorious silk, seek unison with one wearing an elephant-skin? Don't people laugh
to see you driving around with Him sitting on an old, emaciated ox? Add to his
grotesqueness his three eyes! Why do you choose such a groom?"
Not knowing that the lad was Shiva in disguise, Parvati naturally got angry with
him for abusing Shiva. She asked her aide to' send the boy away and she herself
rose to leave the place. Shiva then appeared to her in his true form. Parvati on
seeing his divine form was overwhelmed. She stood glued to the ground not
knowing what to do. The poet's description of this scene is extraordinarily
beautiful.
6.1.8 Parvati send words to Siva
Parvati sent word through her maid to Shiva to ask him to talk to her father
about their marriage.
6.1.9. Saptharshies meet Parvatharajan and Parvati weds Siva later
Shiva thereupon sent a message to him through the seven great Sages. The king of
the Himalayas gladly agreed. The marriage took place in a grand style.
This great beauty of Parvati inspired Kama, who hitherto was somewhat, dejected,
again to strive to fulfil his task. Parvati raised her hands to offer her
garland of lotus flowers to Shiva who also eagerly came out of his penance to
accept the offering. Kama was waiting for such a moment and exercised his 'sword
of love'. Shiva eyed Parvati once and immediately realised that he had been
weaned away. From his penance. How could this happen?Kama, Cupid, was ready with
his and arrow for action.
6.1.5 Kamadeva become ashes
Lord Shiva was angry and opened his Third Eye. A great fire flowed forth. Kama
was burnt to ashes and Shiva then disappeared. Rati, seeing her husband
destroyed collapsed unconscious. Parvati's father sorrowfully took her to his
home.
Regaining consciousness after some time, Rati lamented that she too would end
her life. Then a voice from the sky told her that Kama would come back to life
when Lord Shiva married Parvati.
6.1.6 Parvati sit for penance
Meanwhile, Parvati sat for a highly strenuous penance. She set-up a huge fire
around her and standing amidst the fire in blazing Sun she started staring at
the Sun God. When rain came She sat unmoved in pouring rain and biting cold and
winds.
6.1.7 Lord Siva appear in disguise before Parvati as a young boy
To test Parvati engaged in such severe penance, Lord Shiva himself appeared
before her in the guise of a 'Brahmachari (a young lad who had his 'Upanayana'
or sacred thread ceremony) and began to pour abuse on Shiva thus; "Why do you
wish to accept the hand of one whose bracelet is a snake? Why do you, in
glorious silk, seek unison with one wearing an elephant-skin? Don't people laugh
to see you driving around with Him sitting on an old, emaciated ox? Add to his
grotesqueness his three eyes! Why do you choose such a groom?"
Not knowing that the lad was Shiva in disguise, Parvati naturally got angry with
him for abusing Shiva. She asked her aide to' send the boy away and she herself
rose to leave the place. Shiva then appeared to her in his true form. Parvati on
seeing his divine form was overwhelmed. She stood glued to the ground not
knowing what to do. The poet's description of this scene is extraordinarily
beautiful.
6.1.8 Parvati send words to Siva
Parvati sent word through her maid to Shiva to ask him to talk to her father
about their marriage.
6.1.9. Saptharshies meet Parvatharajan and Parvati weds Siva later
Shiva thereupon sent a message to him through the seven great Sages. The king of
the Himalayas gladly agreed. The marriage took place in a grand style.
The part authored by Kalidasa in 'Kumarasambhava' is said to end here. The
remaining episodes such as the birth of the son Kumara to Shiva and Parvati, his
becoming the Commander of the Devas' forces and the slaying of the demon
Tarakasura are written by another poet.
7. Speciality of Kalidasa works
Kalidasa's works are known for their triple qualities -- a sense of beauty, a
capacity for appreciation of the aesthetic values and our traditional culture.
Kalidasa's portrayals of the great Himalayan Mountain and of the mode in which
the season of spring (vasanta') blossomed are some of the most lyrical
expressions in the language. His descriptions are vivid and heart-warming; it is
as if we are seeing the events happening before us.
Kalidasa's portrayal of Parvati's grace and beauty magnificently shows his
ability as a poet. Rati's lament upon Kama being consigned to flames moves us to
tears.
Crowning all these pen-pictures of things that are beautiful and sweet in life
is Kalidasa's extolling of a noble culture. Kalidasa exhibits his powers of
perception while recognizing what we can call as 'beauty in action and
behavior'. Episodes such as the Parvataraja's not going by himself to see Shiva
even when sage Narada tells him that Parvati was to marry Shiva, his agreeing
for Parvati's desire to go to serve Shiva, her sitting for penance, his
acceptance of Shiva's offer, sent through the seven Sages, to marry Parvati --
all these enable us to weave in our minds his personality shining with full
grace and honor. Parvati allows no distraction of her mind and engages herself
with singular devotion; she sits for a strenuous penance to make Shiva accept
her and would not tolerate anyone abusing Him. All these show the high culture
in which she is molded.
Though stirred a bit on noticing the beauty of Parvati, Shiva, in his anger at
being disturbed in his penance, burns down Kama, puts Parvati's mind and
thoughts to test, sends the seven Great Sages to Parvataraja -- thus exhibiting
his maturity of mind.
In fact, Shiva was not enamored by the physical beauty of Parvati and only
destroyed Kama who attempted to make him desire her physically. Actually he
admired her several fine, noble qualities and her devout penance. Both he and
Parvati were performing penance and leading a life of sacrifice -- i.e.,
'tapasya'. Both were embodiments of purity. Born to them was Kumara. His
parents' penance fortified him with strength to destroy the demon Taraka.
Kalidasa's poem gives us a vivid picture of what a good, meaningful life a man
could and should lead as propounded by our learned ancestors. Any amount writing
about Kalidasa will not be sufficient.
Now we will go over to second epical work of Kalidasa- Raghu vamsam.
9. Raghuvamsham
Kalidasa's second epic is 'Raghuvamsha'. There are nineteen chapters ('sargas')
in this poem. The epic describes the history of the kings Dileepa, Raghu, Aja,
Dasharatha, Sri Rama, Lava and Kusha. It also deals briefly with the twenty
kings from Nala up to Agnivarna. In the beginning, the poet extols the fine
qualities of the kings of Raghu dynasty.
remaining episodes such as the birth of the son Kumara to Shiva and Parvati, his
becoming the Commander of the Devas' forces and the slaying of the demon
Tarakasura are written by another poet.
7. Speciality of Kalidasa works
Kalidasa's works are known for their triple qualities -- a sense of beauty, a
capacity for appreciation of the aesthetic values and our traditional culture.
Kalidasa's portrayals of the great Himalayan Mountain and of the mode in which
the season of spring (vasanta') blossomed are some of the most lyrical
expressions in the language. His descriptions are vivid and heart-warming; it is
as if we are seeing the events happening before us.
Kalidasa's portrayal of Parvati's grace and beauty magnificently shows his
ability as a poet. Rati's lament upon Kama being consigned to flames moves us to
tears.
Crowning all these pen-pictures of things that are beautiful and sweet in life
is Kalidasa's extolling of a noble culture. Kalidasa exhibits his powers of
perception while recognizing what we can call as 'beauty in action and
behavior'. Episodes such as the Parvataraja's not going by himself to see Shiva
even when sage Narada tells him that Parvati was to marry Shiva, his agreeing
for Parvati's desire to go to serve Shiva, her sitting for penance, his
acceptance of Shiva's offer, sent through the seven Sages, to marry Parvati --
all these enable us to weave in our minds his personality shining with full
grace and honor. Parvati allows no distraction of her mind and engages herself
with singular devotion; she sits for a strenuous penance to make Shiva accept
her and would not tolerate anyone abusing Him. All these show the high culture
in which she is molded.
Though stirred a bit on noticing the beauty of Parvati, Shiva, in his anger at
being disturbed in his penance, burns down Kama, puts Parvati's mind and
thoughts to test, sends the seven Great Sages to Parvataraja -- thus exhibiting
his maturity of mind.
In fact, Shiva was not enamored by the physical beauty of Parvati and only
destroyed Kama who attempted to make him desire her physically. Actually he
admired her several fine, noble qualities and her devout penance. Both he and
Parvati were performing penance and leading a life of sacrifice -- i.e.,
'tapasya'. Both were embodiments of purity. Born to them was Kumara. His
parents' penance fortified him with strength to destroy the demon Taraka.
Kalidasa's poem gives us a vivid picture of what a good, meaningful life a man
could and should lead as propounded by our learned ancestors. Any amount writing
about Kalidasa will not be sufficient.
Now we will go over to second epical work of Kalidasa- Raghu vamsam.
9. Raghuvamsham
Kalidasa's second epic is 'Raghuvamsha'. There are nineteen chapters ('sargas')
in this poem. The epic describes the history of the kings Dileepa, Raghu, Aja,
Dasharatha, Sri Rama, Lava and Kusha. It also deals briefly with the twenty
kings from Nala up to Agnivarna. In the beginning, the poet extols the fine
qualities of the kings of Raghu dynasty.
The dynasty is a noble one. Those belonging to it have their early education at
the right time from distinguished teachers. They are married at the right age
and rule justly adhering to 'Dharma' (law of righteousness). As they grew old,
they renounced the kingdom in favour of the younger incumbents and led a life of
saintly renunciation and ultimately renounced the mortal life by way of 'yoga'.
They earned wealth so that they would offer it to the worthy who are in need.
They liked to conquer a kingdom for the thrill of success. Culprits were
punished. Those kings were ever vigilant, generally UN daunted and strove their
best to achieve their goal. They ruled a kingdom stretching up to the seashore.
They would even drive a chariot right up to the Heavens. The poet asserts that
his main aim in writing this poem is to celebrate the ideal royal qualities of
the kings of the clan of Raghu and to portray the history of a galaxy of such
men. The story begins with king Dileepa.
9.1 King Dileepa
Dileepa, as portrayed by the poet, was a majestic personality. He was
impressively built, broad-shouldered, and tall. In effect he personified the
royal tradition. His intellect matched his physique. That intellect matched his
vast learning. His actions were dictated by his superior knowledge and the
results were true to his efforts.
9.2 Dilipa and his wife serve Nandini
His consort Sudakshina was an ideal wife worried at not having children; they go
to the 'ashram' of the great sage Vashishta who suggests to them that they offer
obeisance to Nandini, the calf of the Heavenly Cow Kamadhenu.
Accordingly, Dileepa follows Nandini to the forest daily and serves her for
twenty-one days. On the last day, a lion attacks Nandini and when Dileepa tries
to draw an arrow from his bow to kill the beast, lo, his hand gets stuck on the
bow. The lion, speaking like human beings, tells him to return to the ashram, as
the cow was his meal. Dileepa there upon offers his own body as food for the
lion. Then the lion disappears. In fact the lion was the creation of Nandini
herself to test the king. She blesses him and says he would beget children when
he drank her milk.
9.3 Birth of Raghu raja
They return to the 'ashram' where the royal couple drink the milk and return to
the capital. In due course, Sudakshina gives birth to a son who was named Raghu
raja. The poets' description gives us a fine picture of a great king devoted to
truth and highest moral and spiritual ideals. The close contact between the
kings and sages and the fact that great personalities are born when the heroic
king is blessed by a sage whose life is a saga of purity, are narrated
memorably.
The poet then goes on to tell us the story of Raghu.
the right time from distinguished teachers. They are married at the right age
and rule justly adhering to 'Dharma' (law of righteousness). As they grew old,
they renounced the kingdom in favour of the younger incumbents and led a life of
saintly renunciation and ultimately renounced the mortal life by way of 'yoga'.
They earned wealth so that they would offer it to the worthy who are in need.
They liked to conquer a kingdom for the thrill of success. Culprits were
punished. Those kings were ever vigilant, generally UN daunted and strove their
best to achieve their goal. They ruled a kingdom stretching up to the seashore.
They would even drive a chariot right up to the Heavens. The poet asserts that
his main aim in writing this poem is to celebrate the ideal royal qualities of
the kings of the clan of Raghu and to portray the history of a galaxy of such
men. The story begins with king Dileepa.
9.1 King Dileepa
Dileepa, as portrayed by the poet, was a majestic personality. He was
impressively built, broad-shouldered, and tall. In effect he personified the
royal tradition. His intellect matched his physique. That intellect matched his
vast learning. His actions were dictated by his superior knowledge and the
results were true to his efforts.
9.2 Dilipa and his wife serve Nandini
His consort Sudakshina was an ideal wife worried at not having children; they go
to the 'ashram' of the great sage Vashishta who suggests to them that they offer
obeisance to Nandini, the calf of the Heavenly Cow Kamadhenu.
Accordingly, Dileepa follows Nandini to the forest daily and serves her for
twenty-one days. On the last day, a lion attacks Nandini and when Dileepa tries
to draw an arrow from his bow to kill the beast, lo, his hand gets stuck on the
bow. The lion, speaking like human beings, tells him to return to the ashram, as
the cow was his meal. Dileepa there upon offers his own body as food for the
lion. Then the lion disappears. In fact the lion was the creation of Nandini
herself to test the king. She blesses him and says he would beget children when
he drank her milk.
9.3 Birth of Raghu raja
They return to the 'ashram' where the royal couple drink the milk and return to
the capital. In due course, Sudakshina gives birth to a son who was named Raghu
raja. The poets' description gives us a fine picture of a great king devoted to
truth and highest moral and spiritual ideals. The close contact between the
kings and sages and the fact that great personalities are born when the heroic
king is blessed by a sage whose life is a saga of purity, are narrated
memorably.
The poet then goes on to tell us the story of Raghu.
MAHAKAVI KALIDASA-3
9.4 King Raghu conduct Viswajit yaga
Even while Raghu was the Prince, he had displayed his prowess by protecting
the horse his father had sent out on a victorious march at the time of
conducting an Ashwamedha (a sacrifice featuring a highbred horse). A fierce
battle rages between Raghu and the king of the 'Devas' Indra at the time of
Dileepa's one-hundredth 'Ashwamedha' sacrifice. Impressed by Raghu's heroism,
Indra blesses Dileepa to enjoy the fruits of the sacrifice. Thereupon, Dileepa
hands over the reigns of the kingdom to his son and goes away to the forest to
spend his last days in penance.
Raghu defeated several kings and expanded his domain, conducted a great
sacrifice called Vishwajit Yaga and then gave away all his worldly riches in
charity.
9.6 King raghu wages war with Kubera to offer money to Kutsa
At that time, Kutsa, the son of a sage, comes and asks for some money to pay as
'Gurudakshina' (tribute to his guru). But the king had by then donated all his
wealth and belongings. The king could only offer him sanctified water from an
earthen bowl. When he learnt of the need of the sage's son, he decided to wage a
war against Kubera, the God of Wealth, but the latter hastens to aid Raghu and
fills his treasury to enable him to fulfil the desire to make the gift to
Kautsa.
9.7 Birth of Aja and his winning Princess Indumati in swayamvara
A son is born to Raghu and is named Aja. He was extremely good-looking and of a
tender nature. On coming of age, he goes to the Swayamvara (where the bride
choose her groom from amongst several aspirants) of princess Indumati of the
province of Vidarbha. As she entered the Swayamvara Hall, her maid Sunanda
introduces each prince describing his physical features, heroism and prowess.
None appeals to the princess. Sunanda then introduces prince Aja and extols his
fine qualities and his illustrious family. Indumati garlands him accepting his
hand in marriage.
9.8 Kalidasa description of swayamvara and princess
Kalidasa's description of this Swayamvara is a very pleasant one. The princes'
descriptions are not overdone, their physical strength, heroic disposition,
riches are all described with absorbing interest. None has been belittled.
Indumati does not reject other suitors because of any defects in them. Each
person has a nature distinct to himself, the poet feels, and one cannot reason
out why a person particularly falls in love with another. The narrative here
shows the poets' high taste, aesthetic awareness of beauty and also a lively
light-heartedness.
9.9 Attacks during Marriage of Aja
The marriage of Indumati with Aja is performed in a grand manner. But then, the
disappointed princes attack them vengefully and fierce battle ensues. Aja
defeats all of them and triumphantly returns to his capital with his bride.
Raghu instantly recognizes his son's heroism and majesty, gladly hands over the
reigns of the kingdom and goes to live in a hermitage on the outskirts of
Ayodhya. A father who ascends a seat of renunciation ('Yoga') and a son who
ascends the throne -- the stance and actions of the two personalities are
narrated with moving lyricism and understanding.
The father is guided by sages and the son is assisted by ministers. The former
has conquered all the worldly desires in him while the latter has defeated
enemies outside. Raghu's life displays a personality that shows how one can
achieve that exquisite serenity and peace if only one could concentrate on total
devotion to God. Likewise, the pleasures of living a man of sterling qualities
can achieve and enjoy are evidenced in the life of Aja. Though both Dileepa and
Raghu are great men, we notice a difference in them.
9.10 Four goals achieved by king Raghu
As laid down by our learned ancestors, a man should have four goals before him:
spiritual awareness or righteousness ('Dharma'), acquisition of wealth
('Artha'), love or a desire for physical pleasure ('Kama'), and ultimately
salvation ('Moksha').
Neither the desire to earn wealth nor the urge for pleasures of life is wrong
but they should be accompanied by a sense of righteousness. One should try to
acquire wealth through moral means; he should earn it in a manner, which does
not do any injustice to others.
He should spend money for right and good causes. He should not take to wrong or
harmful ways, which may hurt others.
He should live a life, which could bring him salvation when death approaches and
seeks to be one with divinity. We see that Dileepa's life is dominated by
'Dharma'. He is so self-sacrificing as to offer himself as food for the lion,
which comes to attack Nandini. And we find the true meaning of 'Artha'
(acquisition and spending of wealth) in the life of Raghu. While conquering many
domains, he gives away all his riches to those he found deserving and at last he
is left with only an earthen bowl for himself!
9.11 Queen Indumati meets death from the garland fallen from Narada's veena
Aja's rule had earned the affection of all his subjects. One day he was
holidaying in the garden outside the city with his wife. Sage Narada was passing
through that sky-route when a heavenly garland adorning his Veena slipped down
and hit Indumati who instantly collapsed, and breathed her last. His aides shock
Aja to unconsciousness and wakes up after ministrations. Resting Indumati's head
on his lap, he laments: "Should a flower take away your life? Why don't I die
even as I hold this garland? It's God's will that poison could turn into nectar
and the latter may change into poison. You were everything to me--wife,
counselor, aide and my disciple in learning of arts. By snatching you away,
death has robbed me of everything". (This is a new story to me)
9.12 Dasaratha son of king Ajaya and Indumati
King Aja's son was Dasharatha who at that time of his mother's death was still a
young boy. The king managed to live for eight more years. Then king Aja hands
over the crown to Dasaratha; he then goes to the confluence of the rivers Ganga
and Sarayu and breathes his last in that holy spot.
Kalidasa has well-illustrated 'Kama' ('desire for pleasure') in the life of Aja.
Here we see the portrayal of his happy life with Indumati as well as of his
anguish upon her sad demise. Aja Pains for her and ends his life by drowning in
the river as he cannot bear the pangs of separation from his beloved wife. It is
an excellent example of devoted love.
The stories of king Dileepa, Raghu and Aja are told in the first eight 'sargas'
(chapters) of Raghu vamsa.
9.13 Ramayana episodes
Subsequent chapters deal with the lives of Dasharatha, Sri Rama and the brothers
Lava and Kusha. The poet presents here the theme of Ramayana in a condensed
form. The story of Ramayana is quite well known but Kalidasa's narration can be
said to be unique. Valmiki's original narrative is marked by simplicity and
grace, shining likes a pure diamond. Kalidasa's handling of this theme makes
this diamond shine more glitteringly by expert processing.
9.14 King Athithi son of king Kusa
After Kusha, his son Atithi ascends the throne. Kalidasa is full of praise for
this young king and emphasizes that he ruled as dictated by 'Dharma',
successfully protected his kingdom from enemies; sages were performing their
penance unhindered.
9.15 Successors of king Athithi
Kalidasa lists twenty kings belonging to the Raghu dynasty who ruled after
Atithi. According to the poet, Agnivarna, the last of this clan, was a
pleasure-seeker who forgot his kingly duties and obligations.
9.16 Story of Agni varma- last king of the clan
It is said that King Agni varma would bestow an audience to those who came to
see him by relaxing at window stretching his legs on the windows. Disease
bedeviled him and upon his death, his wife fulfilled the obligation as a queen
with the help of wise old ministers. Thus ends the description of the Raghu clan
on a sad note. 'Raghuvamsha' depicts our ancient, historical culture and
tradition. Our ancestors had discussed in detail about such matters as to who
could be a good ruler, who is a man of 'tapas' (penance), how one should lead a
good, purposeful life and the like. The poet has portrayed diverse characters
like Vashishta, Dileepa, Raghu, Aja and others. Agnivarna is an example of a
king who could be termed as 'depraved'.
As laid down by our learned ancestors, a man should have four goals before him:
spiritual awareness or righteousness ('Dharma'), acquisition of wealth
('Artha'), love or a desire for physical pleasure ('Kama'), and ultimately
salvation ('Moksha').
Neither the desire to earn wealth nor the urge for pleasures of life is wrong
but they should be accompanied by a sense of righteousness. One should try to
acquire wealth through moral means; he should earn it in a manner, which does
not do any injustice to others.
He should spend money for right and good causes. He should not take to wrong or
harmful ways, which may hurt others.
He should live a life, which could bring him salvation when death approaches and
seeks to be one with divinity. We see that Dileepa's life is dominated by
'Dharma'. He is so self-sacrificing as to offer himself as food for the lion,
which comes to attack Nandini. And we find the true meaning of 'Artha'
(acquisition and spending of wealth) in the life of Raghu. While conquering many
domains, he gives away all his riches to those he found deserving and at last he
is left with only an earthen bowl for himself!
9.11 Queen Indumati meets death from the garland fallen from Narada's veena
Aja's rule had earned the affection of all his subjects. One day he was
holidaying in the garden outside the city with his wife. Sage Narada was passing
through that sky-route when a heavenly garland adorning his Veena slipped down
and hit Indumati who instantly collapsed, and breathed her last. His aides shock
Aja to unconsciousness and wakes up after ministrations. Resting Indumati's head
on his lap, he laments: "Should a flower take away your life? Why don't I die
even as I hold this garland? It's God's will that poison could turn into nectar
and the latter may change into poison. You were everything to me--wife,
counselor, aide and my disciple in learning of arts. By snatching you away,
death has robbed me of everything". (This is a new story to me)
9.12 Dasaratha son of king Ajaya and Indumati
King Aja's son was Dasharatha who at that time of his mother's death was still a
young boy. The king managed to live for eight more years. Then king Aja hands
over the crown to Dasaratha; he then goes to the confluence of the rivers Ganga
and Sarayu and breathes his last in that holy spot.
Kalidasa has well-illustrated 'Kama' ('desire for pleasure') in the life of Aja.
Here we see the portrayal of his happy life with Indumati as well as of his
anguish upon her sad demise. Aja Pains for her and ends his life by drowning in
the river as he cannot bear the pangs of separation from his beloved wife. It is
an excellent example of devoted love.
The stories of king Dileepa, Raghu and Aja are told in the first eight 'sargas'
(chapters) of Raghu vamsa.
9.13 Ramayana episodes
Subsequent chapters deal with the lives of Dasharatha, Sri Rama and the brothers
Lava and Kusha. The poet presents here the theme of Ramayana in a condensed
form. The story of Ramayana is quite well known but Kalidasa's narration can be
said to be unique. Valmiki's original narrative is marked by simplicity and
grace, shining likes a pure diamond. Kalidasa's handling of this theme makes
this diamond shine more glitteringly by expert processing.
9.14 King Athithi son of king Kusa
After Kusha, his son Atithi ascends the throne. Kalidasa is full of praise for
this young king and emphasizes that he ruled as dictated by 'Dharma',
successfully protected his kingdom from enemies; sages were performing their
penance unhindered.
9.15 Successors of king Athithi
Kalidasa lists twenty kings belonging to the Raghu dynasty who ruled after
Atithi. According to the poet, Agnivarna, the last of this clan, was a
pleasure-seeker who forgot his kingly duties and obligations.
9.16 Story of Agni varma- last king of the clan
It is said that King Agni varma would bestow an audience to those who came to
see him by relaxing at window stretching his legs on the windows. Disease
bedeviled him and upon his death, his wife fulfilled the obligation as a queen
with the help of wise old ministers. Thus ends the description of the Raghu clan
on a sad note. 'Raghuvamsha' depicts our ancient, historical culture and
tradition. Our ancestors had discussed in detail about such matters as to who
could be a good ruler, who is a man of 'tapas' (penance), how one should lead a
good, purposeful life and the like. The poet has portrayed diverse characters
like Vashishta, Dileepa, Raghu, Aja and others. Agnivarna is an example of a
king who could be termed as 'depraved'.
MAHAKAVI KALIDASA-4 (Final part)
10 'Sakuntalam the Masterpiece
'Abhijnana Sakuntalam' is the greatest creation of Kavi Kalidasa. This literary
masterpiece has been translated into several languages around the world.
masterpiece has been translated into several languages around the world.
The story of Sakuntalam appears in the 'Adiparva' chapter of the epic
Mahabharata.
10.1 Sakuntalm story told by Kalidasa
There are slight variations in the story though theme is the same in different
epics. King Dushyanta, while on a gaming expedition (safari), arrives at the
hermitage of sage Kanva. He was away and his adopted daughter Sakuntala looks
after the distinguished guest's needs. Dushyanta, immediately on seeing her, is
struck by her beauty and offers to marry her. Sakuntala lays down a condition
that the king should promise to hand over the kingdom to the son born to her and
Dushyanta agrees. They marry and spend some happy days, after which the king
returns to the capital. Sakuntala, in course of time, gives birth to a son who
is named Sarvadamana (This naming is new to me).
Mahabharata.
10.1 Sakuntalm story told by Kalidasa
There are slight variations in the story though theme is the same in different
epics. King Dushyanta, while on a gaming expedition (safari), arrives at the
hermitage of sage Kanva. He was away and his adopted daughter Sakuntala looks
after the distinguished guest's needs. Dushyanta, immediately on seeing her, is
struck by her beauty and offers to marry her. Sakuntala lays down a condition
that the king should promise to hand over the kingdom to the son born to her and
Dushyanta agrees. They marry and spend some happy days, after which the king
returns to the capital. Sakuntala, in course of time, gives birth to a son who
is named Sarvadamana (This naming is new to me).
Six years pass and still Dushyanta does not send for his spouse and son. Sage
Kanva voluntarily decides to send Sakuntala to the palace. When she arrives at
Dushyanta's abode, he refuses to recognize her. Sakuntala is grief- stricken.
Then amidst her lament a heavenly voice commands Dushyanta: "He is your son.
Accept him." The king then takes him in and the boy later comes to be renowned
as Bharata.
KALIDASA WEAVES A GREAT PLAY BASING ON THIS MAHABHARATA THEME. The first meeting
of Dushyanta and Sakuntala is a lively, colorful sequence in the play.
Dushyanta, in the course of his hunting expedition arrives at Kanva's hermitage
and there in the garden he sees Sakuntala engaged in watering the plants along
with her maids. Mesmerized by her beauty, he desires to marry her while
Sakuntala also is deeply impressed by the sight of the royal dignitary. They
then marry in the 'Gandharva' style.
The king returns to the capital while Sakuntala, left behind in the ashrama.
10.2 Sage Durvasa curse
After the king returns, sage Durvasa comes to call on sage Kanva. The latter was
away and Sakuntala was so lost in her thoughts of king Dushyanta those sage's
words: " I, a guest, have come" fell on her deaf ears. The sage is enraged and
always quick to anger, curses her: "May the person about whom you are thinking
forget you!" Later, he relents and says: "When he sees an object, which he has
given you and recognizes it, he will remember you."
Unfortunately, Sakuntala loses the ring given by Dushyanta who just forgets her.
Kanva sends Sakuntala, now pregnant, to the court of Dushyanta along with his
disciples. (Mahabharata pictures her child, about six now, who is very active)
Kalidasa portrays the farewell of sage Kanva to Sakuntala very touchingly. The
whole ashram is plunged in sorrow. Kanva, Sakuntala's maids, all shed tears at
departure; even the trees, plants, and birds bow down with grief.
10.3 Dushyanta rejects Sakuntala
Upon her arrival, king Dushyanta cannot recognize Sakuntala. He even thinks it
improper to look at the woman who is a stranger to him. He could not believe
that this woman is his wife. The ring is lost on the way and Sankuntala,
overcome with grief after being rejected by Dushyanta, collapses and is then
carried away by a divine light. After a few days, the ring is found in the
stomach of a fish and Dushyanta, upon seeing it, remembers everything.
10.4 Dushyanta again meet Sakunthala
He feels sad that he rejected Sakuntala. Later, on his way back from Heaven
where he had gone to assist Indra on an errand, he visits the hermitage of
Mareecha. There he sees a boy daringly attempting to bare the jaws of a lion's
cub. On inquiry, he learns that he is none other than his own son Sarvadamana.
Dushyanta, his consort and their son are happily united.
10.5 Kalidasa presentation of Sakunthalam
At the end of the play, one feels sad at the sufferings of Shakuntala and we are
at a loss as to whether we should blame Dushyanta or the 'Divine Power' for
these happenings. In the last act, we see Shakuntala wrapped in a very ordinary
saree, but she is a picture of grace and dignity. Though young in age, she
speaks but a few words in a profound sense.
She is a real Tapaswini (one who wants to sacrifice life for eternal salvation).
One wonder at the manner in which she has transformed herself from a pleasure-
seeking young girl into a young woman imbued with a sense of total renunciation
and service. Through portraying scenes of Sakuntala's maids teasing her, sage
Kanva's far-sightedness, the King's paining for Sakuntalas love when she is
away, Shakuntala's unsullied sense of love, the divine grace which brought about
the happy reunion, the playwright presents before us a large canvas on which all
the vicissitudes of life are touched upon.
11. Malavikagni mitram
'Malavikagnimitram' is in fact the first play of Kavi Kalidasa. The author shows
his humility and is uncertain whether people would accept play. He pleads
'Puranamityeva Na sadhu sarvam, Na chapikavyamnavamityavadyam' (Everything old
is not good, nor is every thing knew is bad). The theme of the play is the
love-story of Agnimitra and Malavika.
12. Vikramorvaseyam
Kalidasa's second play 'Vikramorvashiyam' is about the loves and tribulations of
king Pururava and the heavenly apsaras 'Urvashi'. The story in detail I have
presented many times.
13. Meghadutam
'Meghadutam' is a beautiful love-lyric. Megham, cloud is used as a messenger. It
is a sandesa kavyam.
A 'Yaksha', who is forced to be separated from his mistress for a year, sends
her a message. The lady is residing at Alakanagari. 'Go and tell her that I told
so', instructs the Yaksha to the cloud who becomes his messenger. The very fact
that a cloud ('Megha') is chosen to be a messenger of love is something unique.
The poet fascinatingly describes the travels of the cloud from Ramagiri to
Alakanagari. The rivers, hills and mountains, cities and towns, vast fields,
farmers' daughters as well as girls in the cities, the birds and the bees -- are
all described by the poet vividly. It is a total picture of a beautiful world.
His descriptions of Alakanagari, the Yaksha's house and the garden around, the
Yaksha's wife playing the Veena and her grace and beauty are captivating.
14. Ritusamharam
'Ritusamharam' is a small-scale poetical creation depicting the six seasons.
However, it is equally appealing. The poet here sees beauty in everything. Each
different facet of nature he sees in each of the seasons fascinates him; it is a
romantic sight.
In sum, it gives us great aesthetic pleasure to read Kalidasa's works. His
descriptions enthrall us. With him we are in the company of a highly civilized,
cultured personality. It is like a flower, which, in bloom, spreads its
fragrance all around. And a man's mature, ripened mind and intellect brings
pleasure to those around him.
Kalidasa's creations, pleases us deeply to come into contact with characters
like Parvati, Dileepa, Raghu, Aja, Shakuntala, Dushyanta and Kanva. It is a
wonderful experience.
15. Conclusion
I am concluding my posting about Kalidasa and his works here. While reading
from net I could get a lot of information about Raghuvamsam, which mainly
fascinated me to make these postings on Kalidasa. While studying in school
what I could not understand by words Meghadutam, Ritusamharam, Vikramorvaseeyam
or Malavkagni mitram, the meaning, now I could fully understand them.
I have inputs for preparing these postings from an article by KT Pandurangi in
the website Bharata desam.com
Kanva voluntarily decides to send Sakuntala to the palace. When she arrives at
Dushyanta's abode, he refuses to recognize her. Sakuntala is grief- stricken.
Then amidst her lament a heavenly voice commands Dushyanta: "He is your son.
Accept him." The king then takes him in and the boy later comes to be renowned
as Bharata.
KALIDASA WEAVES A GREAT PLAY BASING ON THIS MAHABHARATA THEME. The first meeting
of Dushyanta and Sakuntala is a lively, colorful sequence in the play.
Dushyanta, in the course of his hunting expedition arrives at Kanva's hermitage
and there in the garden he sees Sakuntala engaged in watering the plants along
with her maids. Mesmerized by her beauty, he desires to marry her while
Sakuntala also is deeply impressed by the sight of the royal dignitary. They
then marry in the 'Gandharva' style.
The king returns to the capital while Sakuntala, left behind in the ashrama.
10.2 Sage Durvasa curse
After the king returns, sage Durvasa comes to call on sage Kanva. The latter was
away and Sakuntala was so lost in her thoughts of king Dushyanta those sage's
words: " I, a guest, have come" fell on her deaf ears. The sage is enraged and
always quick to anger, curses her: "May the person about whom you are thinking
forget you!" Later, he relents and says: "When he sees an object, which he has
given you and recognizes it, he will remember you."
Unfortunately, Sakuntala loses the ring given by Dushyanta who just forgets her.
Kanva sends Sakuntala, now pregnant, to the court of Dushyanta along with his
disciples. (Mahabharata pictures her child, about six now, who is very active)
Kalidasa portrays the farewell of sage Kanva to Sakuntala very touchingly. The
whole ashram is plunged in sorrow. Kanva, Sakuntala's maids, all shed tears at
departure; even the trees, plants, and birds bow down with grief.
10.3 Dushyanta rejects Sakuntala
Upon her arrival, king Dushyanta cannot recognize Sakuntala. He even thinks it
improper to look at the woman who is a stranger to him. He could not believe
that this woman is his wife. The ring is lost on the way and Sankuntala,
overcome with grief after being rejected by Dushyanta, collapses and is then
carried away by a divine light. After a few days, the ring is found in the
stomach of a fish and Dushyanta, upon seeing it, remembers everything.
10.4 Dushyanta again meet Sakunthala
He feels sad that he rejected Sakuntala. Later, on his way back from Heaven
where he had gone to assist Indra on an errand, he visits the hermitage of
Mareecha. There he sees a boy daringly attempting to bare the jaws of a lion's
cub. On inquiry, he learns that he is none other than his own son Sarvadamana.
Dushyanta, his consort and their son are happily united.
10.5 Kalidasa presentation of Sakunthalam
At the end of the play, one feels sad at the sufferings of Shakuntala and we are
at a loss as to whether we should blame Dushyanta or the 'Divine Power' for
these happenings. In the last act, we see Shakuntala wrapped in a very ordinary
saree, but she is a picture of grace and dignity. Though young in age, she
speaks but a few words in a profound sense.
She is a real Tapaswini (one who wants to sacrifice life for eternal salvation).
One wonder at the manner in which she has transformed herself from a pleasure-
seeking young girl into a young woman imbued with a sense of total renunciation
and service. Through portraying scenes of Sakuntala's maids teasing her, sage
Kanva's far-sightedness, the King's paining for Sakuntalas love when she is
away, Shakuntala's unsullied sense of love, the divine grace which brought about
the happy reunion, the playwright presents before us a large canvas on which all
the vicissitudes of life are touched upon.
11. Malavikagni mitram
'Malavikagnimitram' is in fact the first play of Kavi Kalidasa. The author shows
his humility and is uncertain whether people would accept play. He pleads
'Puranamityeva Na sadhu sarvam, Na chapikavyamnavamityavadyam' (Everything old
is not good, nor is every thing knew is bad). The theme of the play is the
love-story of Agnimitra and Malavika.
12. Vikramorvaseyam
Kalidasa's second play 'Vikramorvashiyam' is about the loves and tribulations of
king Pururava and the heavenly apsaras 'Urvashi'. The story in detail I have
presented many times.
13. Meghadutam
'Meghadutam' is a beautiful love-lyric. Megham, cloud is used as a messenger. It
is a sandesa kavyam.
A 'Yaksha', who is forced to be separated from his mistress for a year, sends
her a message. The lady is residing at Alakanagari. 'Go and tell her that I told
so', instructs the Yaksha to the cloud who becomes his messenger. The very fact
that a cloud ('Megha') is chosen to be a messenger of love is something unique.
The poet fascinatingly describes the travels of the cloud from Ramagiri to
Alakanagari. The rivers, hills and mountains, cities and towns, vast fields,
farmers' daughters as well as girls in the cities, the birds and the bees -- are
all described by the poet vividly. It is a total picture of a beautiful world.
His descriptions of Alakanagari, the Yaksha's house and the garden around, the
Yaksha's wife playing the Veena and her grace and beauty are captivating.
14. Ritusamharam
'Ritusamharam' is a small-scale poetical creation depicting the six seasons.
However, it is equally appealing. The poet here sees beauty in everything. Each
different facet of nature he sees in each of the seasons fascinates him; it is a
romantic sight.
In sum, it gives us great aesthetic pleasure to read Kalidasa's works. His
descriptions enthrall us. With him we are in the company of a highly civilized,
cultured personality. It is like a flower, which, in bloom, spreads its
fragrance all around. And a man's mature, ripened mind and intellect brings
pleasure to those around him.
Kalidasa's creations, pleases us deeply to come into contact with characters
like Parvati, Dileepa, Raghu, Aja, Shakuntala, Dushyanta and Kanva. It is a
wonderful experience.
15. Conclusion
I am concluding my posting about Kalidasa and his works here. While reading
from net I could get a lot of information about Raghuvamsam, which mainly
fascinated me to make these postings on Kalidasa. While studying in school
what I could not understand by words Meghadutam, Ritusamharam, Vikramorvaseeyam
or Malavkagni mitram, the meaning, now I could fully understand them.
I have inputs for preparing these postings from an article by KT Pandurangi in
the website Bharata desam.com
knr
--
If God brings you to it, He will bring you through it.
Happy moments, praise God.
Difficult moments, seek God.
Quiet moments, worship God.
Painful moments, trust God.
Every moment, thank God
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