ABHIGNANA

SHAKUNTALAM
by Kalidasa
Tharun Varada
CE21B127
 CONTENTS
About the Play wright

Origin of Kālidāsa's play

Synopsis

Major themes in abhignana

Shakuntalam

Reception
 About the Playwright:Kalidasa

Background :
Regarded as one of the greatest classical Sanskrit poets and dramatists.
Lived during the Gupta Empire, likely between the 3rd and 6th centuries
A.D.
Associated with King Vikramaditya, often identified as Chandragupta II.
Notable Works :
Plays: Abhijnana-Sakuntalam ,Malavikagnimitra ,Vikramorvasiya
Poems: Meghaduta (The Cloud Messenger),Raghuvamsa (The Dynasty of
Raghu),Kumarasambhava (The Birth of the War God)
 Literary Style & Legacy

Characteristics:
Lyrical beauty and rich imagery. Profound emotional depth and
philosophical insights.
Cultural Reflection:
Works reveal the cultural ethos of pre-modern India and provide an
insider's understanding of court life, often drawing on Hindu mythology,
epics, and legends.
Kalidasa is often hailed as the "Shakespeare of India" for his poetic genius and
profound contributions to literature.
His ability to weave complex characters and intricate plots ensures his works
resonate with audiences across generations.
 Origin of Kālidāsa's play
The plot of Abhijñānaśakuntalā has roots in :
Mentioned in the Mahābhārata, linking to the Pāṇ ḍava and Kaūrava
lineages.
A similar story appears in the Buddhist Jātaka tales.
The central story involves King Duṣyanta and Śakuntalā meeting in
the forest, experiencing estrangement, and ultimately reuniting.
Their son, Bharata, is considered the founder of the dynasty that led
to the Kaūravas and Pāṇḍavas.
 Connection with Mahabharata:
The version of Abhijnana-Shakuntalam in the Mahabharata
differs slightly from Kalidasa’s original narrative. In the
Mahabharata, Shakuntala is separated from her husband,
King Dushyanta, for an extended period. It is only when their
son Bharata is born that Dushyanta encounters him playing
with lion cubs in the forest, sparking curiosity about the boy's
parents. This leads Dushyanta to Kanva Rishi’s ashram, where
he reunites with Shakuntala, filling his heart with warmth and
joy. Bharata is noted as the ancestor of the Kauravas and
Pandavas, the central figures in the epic war of the
Mahabharata. It is said that India derives its name from
Bharata, once known as Bharatadesham, meaning the land of
Bharata. While this version holds significant mythological
weight, Kalidasa’s original is still regarded as the standard
narrative.
 INTRODUCTION
Abhijnana-Shakuntalam is a seven-act Sanskrit play written by one of the
greatest poets of India, Kalidasa. Literally, the meaning of the name of the
play is The Recognition of Shakuntala by a Token. It is the first-ever Indian
play to be translated into any Western language, with Sir William Jones
translating it into English in 1789. Thus, the play is not only one of the best
works in Sanskrit literature but also in world literature. Abhijnana-
Shakuntalam is based on a story from the Mahabharata. Kalidasa
transformed the story into an elegant piece of art, weaving in themes of
love, passion, reunion, and separation, all while introducing innovative
narrative techniques. The play is not entirely a pure Sanskrit work; it
incorporates elements from various Indian dialects, particularly
Maharashtri Prakrit. The period in which the play was written remains
uncertain due to the lack of concrete evidence regarding Kalidasa's
lifetime. However, it is assumed that he lived between the 2nd century B.C.
and the 4th century A.D. The play is beautifully intertwined with dramatic
power and poetic beauty.
 Summary of the Main Plot
Meeting:
King Duṣyanta meets and falls in love with Shakuntala, marrying her
secretly. He gives her a ring as a promise to return.
The Curse:
Sage Durvāsas curses Shakuntala for neglecting him, causing Duṣyanta to
forget her. The curse can only be lifted when he sees the ring.
Forgetfulness:
On her way to reunite with the king, Shakuntala loses the ring, and
Duṣyanta fails to recognize her due to the curse.
Reunion:
When the ring is found, the king's memory returns. He searches for and is
eventually reunited with Shakuntala and their son Bharata.
 Summary of the Main Plot
Meeting:
King Duṣyanta meets and falls in love with Shakuntala, marrying her
secretly. He gives her a ring as a promise to return.
The Curse:
Sage Durvāsas curses Shakuntala for neglecting him, causing Duṣyanta to
forget her. The curse can only be lifted when he sees the ring.
Forgetfulness:
On her way to reunite with the king, Shakuntala loses the ring, and
Duṣyanta fails to recognize her due to the curse.
Reunion:
When the ring is found, the king's memory returns. He searches for and is
eventually reunited with Shakuntala and their son Bharata.
 Major themes in abhignana
Shakuntalam

Love and Duty:

The play illustrates the tension between desire and duty, a recurring theme
in Kalidasa's works. Love and duty conflict sharply in Dushyanta's character,
as he navigates his royal obligations and personal desires. Similarly,
Shakuntala's struggle between ascetic responsibilities and wifely duties is
highlighted. The interplay of love and duty suggests the complexity of
human relationships and the societal roles that govern them.
 Major themes in abhignana
Shakuntalam

The Forest and the City:

Kalidasa's deep appreciation for nature is evident throughout the play,

symbolizing purity, innocence, and the transient nature of human
experiences. The forest serves as a backdrop for the blossoming romance
between Dushyanta and Shakuntala, contrasting with the rigid structures of
the royal court. The forest embodies freedom, while the city represents
societal obligations, emphasizing the dichotomy between natural instincts
and civilized life.
 Major themes in abhignana
Shakuntalam
Art and the Connoisseur:

Art plays a pivotal role in Abhijnana-Shakuntalam, reflecting the aesthetic

values of the time. The characters often engage in discussions about art,
poetry, and music, revealing their appreciation for the finer aspects of life.
Dushyanta, as a connoisseur, embodies the ideal ruler who not only fulfills
his duties but also indulges in the arts. His pursuit of Shakuntala is not
merely a romantic endeavor but also a quest for beauty and emotional
fulfillment. This theme underscores the importance of art in human
experience, suggesting that true appreciation of life is intertwined with
artistic expression.
 Reception

Shakuntala was the first Indian drama translated into a Western

language by Sir William Jones in 1789, with over 46 translations in the
next century.
Influenced notable Western figures like Goethe, who praised it in his 1791
epigram and used elements in Faust.
The play was excluded from British Indian educational curriculums due to
perceived immorality by colonial administrators.
Multiple European composers, including Franz Schubert, attempted but
did not finish operas based on the play.
Various new adaptations and performances continued in the 19th and
20th centuries, including operas, ballets, and modern theatre production
 Film adaptations
Shakuntala is one of the few classical Sanskrit plays frequently adapted to films,
with the most adaptations besides Mṛcchakatikā by Shudraka.

Film adaptations include: Television adaptations:

1920: Suchet Singh, Shree Nath Patankar. Vijaya Mehta: TV film titled
1929: Fatma Begum. Shakuntalam.
1931: Mohan Dayaram Bhavnani, J.J. Madan. 1988: Bharat Ek Khoj series by
1932: Sarvottam Badami, a Hindi film. Shyam Benegal included a two-
1940: Ellis Dungan. part adaptation of the play and
1941: Jyotish Bannerjee. Kalidasa's life.
1943: Shantaram Rajaram Vankudre. 2009: TV series produced by
1961: Bhupen Hazarika. Sagar Arts on Star One.
1965: Kunchacko.
1966: Kamalakara Kameshwara Rao.
Indian plaque depicting the story of Shakuntala, found in the
treasury of Ai-Khanoum, Bactria, 2nd century BCE.[12]
 Conclusion

Shakuntala remains a cornerstone of

Indian literature, celebrated for its rich
themes, poetic beauty, and emotional
depth.
Its impact on literature, theatre, and
modern adaptations underscores its
timeless relevance, inviting continued
exploration and appreciation across
cultures and generations.
THANK YOU
 Themes in Kalidasa’s Works
Duty vs. Desire:
Exploration of the conflict between royal duties and personal desires.
Women’s Representation:
Depiction of women who exist outside proper courtly circles, such as
Shakuntala in a forest hermitage or Malavika in a palace perceived to have
lower status.
Interplay of Identities:
The tension between royal identity and personal pursuits, with women
often revealing royal or divine identities, suggesting a return to unchanging
identities after the resolution of conflicts.