Forsaken Sakuntala painting Legend[ edit ] King Dushyanta first encountered Shakuntala while travelling through the forest with his army. He was pursuing a male deer wounded by his weapon. Shakuntala and Dushyanta fell in love with each other and got married as per Gandharva marriage system. Before returning to his kingdom, Dushyanta gave his personal royal ring to Shakuntala as a symbol of his promise to return and bring her to his palace. One day, a powerful rishi, Durvasa , came to the ashrama but, lost in her thoughts about Dushyanta, Shakuntala failed to greet him properly. Incensed by this slight, the rishi cursed Shakuntala, saying that the person she was dreaming of would forget about her altogether.

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Shakuntala Act 1 - Poem by Kalidasa Autoplay next video King Dushyant in a chariot, pursuing an antelope, with a bow and quiver, attended by his Charioteer. Suta Charioteer. King Dushyant: The fleet animal has given us a long chase. Now, through fear of a descending shaft, he contracts his forehand, and extends his flexible haunches; and now, through fatigue, he pauses to nibble the grass in his path with his mouth half opened.

See how he springs and bounds with long steps, lightly skimming the ground, and rising high in the air! And now so rapid is his flight, that he is scarce discernible!

Suta: The ground was uneven, and the horses were checked in their course. He has taken advantage of our delay. It is level now, and we may easily overtake him. King Dushyant: Loosen the reins. Suta: As the king commands. The horses were not even touched by the clouds of dust which they raised; they tossed their manes, erected their ears, and rather glided than galloped over the smooth plain.

King Dushyant: They soon outran the swift antelope. So swift was the motion of the wheels, that nothing, for many moments, was either distant or near. This antelope, O king, has an asylum in our forest: he must not be slain. Suta: [Listening and Looking. Suta: The king is obeyed. Hermit: [Raising his hands. No, surely, no; he must not be hurt. An arrow in the delicate body of a deer would be like fire in bale of cotton.

Compared with thy keen shafts, how weak must be the tender hide of a young antelope! Replace quickly, oh! The weapons of you kings and warriors are destined for the relief of the oppressed, not for the destruction of the guiltless. King Dushyant: [Saluting them. Mayst thou have a son adorned with virtues, a sovereign of the world! Pupil: [Elevating both his hands. King Dushyant: [Bowing to them. If you have no other avocation, enter yon grove, and let the rights of hospitality be duly performed.

King Dushyant: Holy man, I will attend her; and she, having observed my devotion, will report it favourably to the venerable sage. Both: Be it so; and we depart on our own business. By visiting the abode of holiness, we shall purify our souls. Suta: As the king may his life be long! Suta: By what marks? King Dushyant: Do you not observe them?

See under yon trees the hallowed grains which have been scattered on the ground, while the tender female parrots were feeding their unfledged young in their pendent nest. Look at the young fawns, which, having acquired confidence in man, and accustomed themselves to the sound of his voice, frisk at pleasure, without varying their course.

Even the surface of the river is reddened with lines of consecrated bark, which float down its stream. Look again; the roots of yon trees are bathed in the waters of holy pools, which quiver as the breeze plays upon them; and the glowing lustre of yon fresh leaves is obscured, for a time, by smoke that rises from oblations of clarified butter. See too, where the young roes deers graze, without apprehension from our approach, on the lawn before yonder garden, where the tops of the sacrificial grass, cut for some religious rite, are sprinkled around.

Suta: I now observe holy habitation. Here, therefore, stop the car; that I may descend. I hold in the reins. The king may descend at his pleasure. King Dushyant:[Having descended, and looking at his own dress. Take these regal ornaments;—[the Charioteer receives them] —and, whilst I am observing those who inhabit this retreat, let the horses be watered and dressed.

Suta: Be it as you direct! But the gates of predestined events are in all places open. King Dushyant: [Listening. I hear female voices to the right of yon arbour tree. I am resolved to know who are conversing. If the beauty of maids who dwell in woodland retreats cannot easily be found in the recesses of a palace, the garden flowers must make room for the blossoms of the forest, which excel them in colour and fragrance.

Shakuntala: It is not only in obedience to our father that I thus employ myself, though that were a sufficient motive, but I really feel the affection of a sister for these young plants. Shakuntala: Excellent advice! Let me retire behind this tree, that I may gaze on her charms without diminishing her confidence.

King Dushyant: [Aside. No; her charms cannot be hidden, even though a robe of intertwisted fibres be thrown over her shoulders, and conceal a part of her bosom, like a veil of yellow leaves enfolding a radiant flower. The water lily, though dark moss may settle on its head, is nevertheless beautiful; and the moon with dewy beams is rendered yet brighter by its black spots.

Many are the rough stalks which support the water lily; but many and exquisite are the blossoms which hang on them. Shakuntala: [Looking before her. I will go near it.

Shakuntala: Why here particularly? Priyamvada: Because the Amra tree seems wedded to you, who are graceful as the blooming creeper which twines round it. Shakuntala: Properly are you named Priyamvada, or speaking lovingly kindly. Yes; her lip glows like the tender leaflet; her arms resemble two flexible stalks; and youthful beauty shines, like a blossom, in all her lineaments.

Shakuntala: [Approaching, and looking at it with pleasure. Anusuya: No, indeed: I was trying to guess. Pray, tell me. Shakuntala Such are the sights of your own imagination. Shakuntala: Then I shall forget myself. Priyamvada: What tidings, my beloved, for me? Shakuntala: This Madhavi—creeper, though it be not the usual time for flowering, is covered with gay blossoms from its root to its top.

Shakuntala: Is it so? Look yourselves. Priyamvada: [With eagerness] From this omen, Shakuntala, I announce you an excellent husband, who will very soon take you by the hand. Priyamvada: Indeed, my beloved, I speak not jestingly.

I heard something from our father Kanva. Your nurture of these plants has prospered; and thence it is, that I foretell your approaching nuptials. Anusuya: It is thence, my Priyamvada, that she has watered them with so much alacrity. Shakuntala: The Madhavi plant is my sister; can I do otherwise than cherish her? Or has a mistaken apprehension risen in my mind?

My warm heart is so attached to her, that she cannot but be a fit match for a man of the military class. The doubts which awhile perplex the good, are soon removed by the prevalence of their strong inclinations. I am enamoured of her, and she cannot, therefore, be the daughter of a Brahmin, whom I could not marry.

Shakuntala: [Moving her head. But this rural charmer knits her brows, and gracefully moves her eyes through fear only, without art or affectation. Whilst I am solicitous to know in what family she was born, thou art enjoying bliss, which to me would be supreme felicity.

Shakuntala: Disengage me, I entreat, from this importunate insect, which quite baffles my efforts. Priyamvada: What power have we to deliver you? The king Dushmanta is the sole defender of our consecrated groves. Yet —[checking himself and retiring] —my royal character will thus abruptly be known to them. No; I will appear as a simple stranger, and claim the duties of hospitality. Shakuntala: This impudent bee will not rest.

I will remove to another space. He follows me wherever I go. Deliver me, oh! King Dushyant: [Advancing hastily. While the race of Puru govern the world, and restrain even the most profligate, by good laws well administered, has any man the audacity to molest the lovely daughters of pious hermits? Priyamvada: Stranger, you are welcome. Go, my Shakuntala; bring from the cottage a basket of fruit and flowers.


The Recognition of Shakuntala - Kalidasa

This brilliant tale of romance and emotions attracted William Jones so much that he translated the play in English during the year and the tradition of translating the work of Kalidasa is continuing even today. The play was not composed entirely in Sanskrit and contains elements of a Middle Indian dialect known as Maharashtri Prakrit. There is no certainty about the exact timeline or period in which the play of Kalidasa is written. The reason behind this uncertainty is due to the fact that there is no historical evidence about when Kalidasa was born and the period of his lifetime varies from 2nd century B. C to 4th century A.


Abhijnanasakuntalam: A Summary of epic poet Kalidasa’s play

The play commences with King Dushyanta on a hunt, then finding himself in the presence of three women at an ashrama sacred place. One of these women is Shakuntala, whom Dushyanta falls immediately in love with. Their mutual attraction eventually blossoms into a romance, but one day as Dushyanta is away, a hermit puts a curse on Shakuntala. The curse caused Dushyanta forget all about Shakuntala. However, the hermit had a slight change of heart. Because Shakuntala was too busy thinking of Dushyanta, the hermit told her friends that if Dushyanta were presented with a meaningful object representing his relationship with Shakuntala, he would regain his memory of her.


Play Analysis - "Shakuntala" by Kalidasa Essay

You can help by adding to it. August See also: Sanskrit drama Plots similar to the play appear in earlier texts. There is a story mentioned in the Mahabharata. A story of similar plot appear in the buddhist Jataka tales as well. In the story King Dushyanta and Shakuntala meet in the forest and get estranged and ultimately reunited. Their son Bharata laid the foundation of the dynasty that ultimately led to Kauravas and Pandavas.


Sakúntala : drama en siete actos


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