Shakuntala By Kalidasa Summary

Abhijana Shakuntalam is a great story written by the famous poet Kalidasa; it was written in the Sanskrit language, but it was translated into English by William James in 1789; this act was also written in many Western languages. Abhijana Shakuntalam is a play based on the story of Mahabharat. Signet ring, the important episode added in Shakuntala by Kalidasa. This play is also known by many titles such as "Shakuntala", The Recognition of Shakuntala", and "The Sign of Shakuntala".

Summary

The story begins in the forest where King Dushyanta had for the Hunt, and King Dushyanta enters the area of Ashram in his chariot of Sage Kanva while chasing a deer. King tries to kill the dear, but a member of the Ashram restrains him from hunting in that area (premises of Sage Kanva). Members of the Ashram warmly welcome King Dushyanta. King got to know that Sage Kanva is out for some days. There he saw a Shakuntala foster child of sage Kanva and fell in love with her; Shakuntala is a daughter of Maharshi Vishwamitra and Menka, who leave Shakuntala on the premises of the Ashram. Shakuntala is accompanied by his female friend, Priyamvada and Anusuya.

King Dushyanta planned to tell her he was completely in love with her. As Shakuntala was also in love with him, she struggled to restrain her feelings for King Dushyant. She sends him a love letter to express her devotion. The only way to have a rapid wedding was for King Dushyanta to propose to her via Gandarava mode. Then a hasty nuptial ceremony in the style of Gandharava Vivah occurred. The matron of the hermitage, Gautami, observed all that took place but remained silent. Due to some upheaval, King Dushyanta had to return to his Kingdom, but he had told her that he would return to take her with him and gave his ring to her.

Shakuntala was thinking a lot about King Dushyanta one day. At that precise moment, Rishi Durvasa arrived and made a call, but Shakuntala was unaware of his arrival, so he cursed her and said:- "You shall be lost in his thoughts, though you good his memory hard, he shall fail to remember you?"

The curse terrified everyone. Friends of Shakuntala begged him for mercy. Rishi Durvasa then asserts that the King will remember everything if he sees any memento he gave her. Rishi Durvasa left the Ashram following this occurrence. After months of anticipation, Sage Kanva arranged for Shakuntala to visit the Hastinapur royal court. After being scouted by a few Ashram members, she left for the royal court. On her way, she stops at the lake to drink water. Unluckily, the ring falls off her finger into the water, where a fish takes it. The Durvasa curse prevents the King from remembering her when she arrives at the royal court, where she shows him his son and reminds him of their marriage. She looks for the ring but cannot find it, so she is forced to return to the Ashram.

A fisherman discovers the ring in the fish's stomach after some time has passed. The Hastinapur soldiers apprehended him as he attempted to sell the ring. He was brought before the King, who received the ring. King recalled everything and realized his error after viewing the ring. In the same time Matali, the charioteer of the deity Indra, shows up at the palace and whisks Dushyanta away on a hasty errand to battle demons, he continues to worry over the issue.

After successfully defeating the demons, passed six years, King Dushyanta received due respect from Indra. When Matali and the King take a flying chariot tour of the Earth. Dushyanta requests to go to Maricha's heavenly retreat. The King is shocked to see a young boy who resembles him here. Dushyanta notices the boy's regal accouterments. Shakuntala then shows up, and they are soon tearfully united. Marica, the wise man, speaks with the trio and explains Durvasa's curse, admonishing the pair not to place the responsibility on themselves or one another. Once they were back together, Dushyanta accompanied them to Hastinapur.

Themes

1.Love and Duty

Dushyanta loves hunting however stops when helped to remember his duty to safeguard the seclusion. He will undoubtedly offer his appreciation to Sage Kanva and meets Shakuntala in Kanva's absence. He experiences passionate feelings from the outset but maintains social qualities (here, position). He asks if Shakuntala is a Kshatriya (not a Brahmin) and if she somehow managed to be hitched. He considers the social request, proposes his affection, and recommends Gandharva - Vivah (marriage by shared assent) solely after discovering she is a Kshatriya's little girl. Shakuntala and her companions obediently water the trees day to day. She duty-will undoubtedly stretch out friendliness to Sage Durvasa, yet her obliviousness causes her to fail to remember her duty bringing about the curse and partition of the sweethearts.

2. Love Conquers All

Shakuntala is a well-known romantic myth. The entire narrative is a battle between forces wanting to divide Shakuntala and Dushyanta's love on one side and forces seeking to separate them on the other. Eventually, their adoration is sufficiently strong to endure a revile, the afflictions of time and detachment, and even great beyond. This is a textbook case of love triumphing against all odds. Shakuntala principal responsibility is to create a mythological, legendary setting for the birth of Bharata and his empire. His birth and return to Earth reflect the zenith of Dushyanta and Shakuntala love and the difficulties they overcame to be together.

3. Concealment and Loss

Concealment and loss both present troubles for the lovers in K?lid?sa's play. Dushyanta is stowing away when he first sees ?akuntal? and at first presents himself not as the King but rather as one of the ruler's mates, while ?akuntal?'s actual way of life as a water sprite is at first concealed from him. The revile which holds Dushyanta back from seeing ?akuntal? and ?akuntal?'s deficiency of the distinctive ring given to her by Dushyanta adds further layers to the story. Readers can draw various thoughts from this series of concealments. One is how the ruler could experience issues finding certifiable love given his situation, and he could feel it supportive of hiding it so others respond to him all the more truly. Dushyanta's inability to perceive ?akuntal? allows the play to investigate the nervousness of affection while having the characters love one another. This considers the play to take a short heartbreaking turn and resolve with a blissful consummation. At last, love tracks down a way, as Dushyanta, ?akuntal?, and their child, Bharata, are united by divine beings.

4. Fate and Karma

Shakuntala delves into the themes of fate and karma, which play significant parts in the characters' lives. The curse that leads Dushyanta to forget and Shakuntala to suffer depicts fate and the consequences of one's actions. The play emphasizes that people must face the consequences of their previous deeds and accept their positive or negative fate.

5. Nature and The Divine

The normal world and its association with the divine are repeating subjects in Shakuntala. The seclusion where Shakuntala lives and her profound bond with nature represent purity, effortlessness, and spirituality. The play underlines tracking down comfort and illumination through fellowship with nature and proposes that the divine is available in the regular domain.

6. Identity and Self-Realization

Shakuntala goes through a transition during the play, eventually understanding her actual identity and purpose. Initially shown as a na�ve and naive young lady, she develops emotionally and intellectually due to her experiences and learns to express herself. Shakuntala's path to self-discovery and final reconciliation with Dushyanta depicts the concept of identity and self-realization.