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Environmental Awareness in the Plays
Environmental Awareness in the Malavikagnimitram:
The Malavikagnimitram is known as the first attempt of
dramatic creation of Kalidasa containing the love-story between the
king Agnimitra and Malavika as its central theme. From the
beginning to the end, in delineation of the main theme, the poet
associates various types of pictures of different seasons, and natural
objects like the Sun, Moon, clouds, sky etc. are the inanimate objects
apart from flora and fauna in a very fantastic, artificial and exciting
manner which ultimately reflects the aware or attractive mind of
Kalidasa towards his environment.
The poet begins this play with a benedictory stanza, i.e. with
the Nandi-verse of the play, where Kalidasa propitiates his favorite
deity in its eight forms- the earth, water, fire, air, ether, the Sun, the
Moon and sacrifice-- ryasya krtsnam jagadapi
tanubhirbibhrato nabhimanah 1. Although in the scientific point of
view, these are inanimate; but the vital elements for all living
creatures and have a significant role to keep the environment in
balance. Thus, in the Malavikagnimitram, the affiliation of the poet
towards nature or environment and the theme of the play take steps
hand to hand with each other. In the first scene of the first act,
Malavika, the heroine of the play, has been presented as a performer
and the pupil of Ganadasa, who takes rest at the stage following the
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order of her master enjoining the sweet gentle breeze of a particular
environment. i.e.
idanimeva pancangabhinayamupadisya maya visramyatamityabhihita
dirghikavalokanagavaksagata pravatamasevamana tisthati //2
Obviously, such an environment has great impact. So, in the
same act, the Parbrajika becomes delighted by the sweet voice
coming from the stage. c.f.
jimutastanitavisankibhirmayurairudgriranurasitasya puskarasya /
nirhlardinyopahitamadhyamasvarottha mayuri madayati marjana manamsi //3
In the next verse, the king himself states that his mind becomes
impatient by the sound of the environment therein4. Similarly, in the
third act the king Agnimitra expresses his deep feelings to Vidusaka
that occurs at advent of the spring5. Vidusaka too is immensely
bho vayasya
avadhanena tavad drstim dehi / etatatkhalu bhavantamiva
vilobhayitukamaya madhulaksmya yuvativesalajjayitrkam
vasantakusumanepathyam grhitam / 6
In the Malavikagnimitram, Kalidasa shows the impact of
various seasons upon other living beings except human life. In the
second act of this play, we have a clear description of the impact of
mid-day on all living creatures. c.f.
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patracchayasu hamsa mukulitanayana dirghikapadmininam /
saudhanyatyarthatapadvalabhiparicayadvesiparavatani
bindutksepanpipasuh paripatati sikhi brantimadvariyantram
sarvairustraih samagraistvamiva nrpagunairdipyate saptasaptih //7
In the Malavikagnimitram, here and there, from the beginning
to the end, the dramatist portrays his characters in the form of natural
objects which reveals his great affiliation towards nature. For
example, in the tenth verse of the second act, king Agnimitra
blooming lotus and budding lotus respectively8. Similarly, in the third
act, he compares lightly ornamented pale-cheeked Malavika to a
Kuda-creeper as it appears with only a few folder ripened by the
spring season9. Her face has long eyes and luster of the autumnal
moon10. In the second act Vidusaka compares himself to Cataka-bird-
maya nama mugdhacatakeneva s
jalapanamistham 11
Similarly, in the same play, Kalidasa presents nature in human
form. Entering the pramodavana, the king was easily attracted by the
touching pleasure of the spring season. Here, he assumes this vernal
season like a woman with decorated face. i.e.
raktasokaruca visositaguno bimbadharalaktakah
pratyakhyatavisesakam kurabakam syamavadatarunam /
akranta tilakakriya ca tilakairlagnadvirephanjanaih
savajneva mukhaprasadhanavidhaou srirmadhavi yositam //12
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no distinction between human being and nature. Moreover, the poet shows
co-relationship between the two. For example, in the third act, Malavika,
the heroine is sent to the Asoka-garden to strike the Asoka-tree which is
waiting for the kick of a fair lady to blossom fully. Here, Kalidasa presents
Malavika replete with natural ornaments13. Similarly, in this play, the poet
portays in a very fantastic manner how nature shares joy and sorrow of
human beings. According to Kalidasa, nature has the same feelings and
emotions as human beings. It has own way of articulation through which
they communicate with human beings. Therefore, in the fourth verse of the
third act the intoxicated cuckoos with sweet notes asked him how he bears
the intricacies of being deeply rooted in love14. Again, in the same act,
Kalidasa displays the inter-relationship between the bird Sarasa and a
traveler. The poet compares Malavika to a river, Vidusaka to a Sarasa, and
the king with a traveler respectively. From the sound of Sarasa (cranes),
the traveler comes to know that his beloved (river) is nearby him. i.e.
tvadupalabhya samipagatam priyam hrdayamucchavasitam mama viklavam/
tarubrtam pathikasya jalarthinah saritamarasitadiva sarasat //15
In the fourth act, the love attitudes of Malavika towards her
beloved i.e. the king Agnimitra has been compared by Kalidasa to a
he tree of (my) love which struck root in the form of hope
when she crossed the path of my ears (I heard of her), which, when
she came within the range of my eyes, put forth the sprouts of passion
and which was covered with buds, as it were, at the touch of her
hand, on account of my hair having stood prominently erect, may that
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16. Similar
instances may be mentioned here from the fifth act of the play where
the king has been compared to a Cakravaka-bird and his beloved as
his mate17.
In the Malavikagnimitram, the Asoka-garden plays a very
significant role, in fact, like a character of the play. In the third act,
for the first time, the king Agnimitra i.e. the hero of the play unites
with the heroine Malavika in the Asoka- nanvadyaiva
prathamam vasantavatarasucakani tatpramadavanameva
gacchavah 18. This Asoka-garden always bears a sweet natural
environment where anyone may be delighted fully enjoying the sweet
notes of the cuckoos or pass his time easily like the god of love in a
bodily form:
parabhrtakalavyaharesu tvamattaratirmadhum
nayasi vidisatirodyanesvananga ivangavan /
vijayakarinamalanatvam gataih prabalasya te
varada varadarodhovrksaih sahavanato ripuh //19.
Therefore, the king Agnimitra united with Malavika in the
Asoka-garden with the permission of queen Dharini. So, these all
stands as examples of the great attractive mind of Kalidasa towards a
peaceful natural environment.
Similarly, in this play, the serpent episode, included by
Kalidasa for his dramatic purpose, bears a specific role. In the fourth
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act, Vidusaka is dissolved in thought because Malavika had been put
the cellar by Dharini with an order to the door-keeper for not letting
her until and unless the signet ring bearing the seal of serpent is
presented before him. Vidusaka pretends to be bitten by a venomous
snake on his finger. The snake-physician asks for a serpent seal, due
to sympathy towards Vidusaka. Dharini gives it away which
ultimately helped Malavika to be released. Thus, by employing a
venomous snake in his dramatic creation, the poet shows the inter-
Thus, from the beginning of the play Malavikagnimitram,
Kalidasa has been observed as a devoted worshiper of nature.
Through his excellent poetic manner Kalidasa portrays nature such
that where everyone gets delighted. As stated above, the Paribrajika,
Vidusaka, the king all are made impatient by the sweet natural
environment. Again, the love-lorn hero, the king Agnimitra has
described as the spring season and the pleasure garden. Today, the
wind coming from the Malaya-mountain bears the pollen of the
Kurubaka-flower with the drops of water of newly opening tender 20. The king
feels the agreeable touch of the southern breeze which is fragrant with
the mango-spouts like the palm of hand21.
Thus, in the Malavikagnimitram, the poet depicts the
attractive, pleasant and glorious sides of the natural environment. In
the third act, Agnimitra, Vidusaka observes the vernal beauty of the
spring season in his pleasure-garden. The poet draws alluring picture
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of natural objects. The nights of the Caitra-month is very agreeable,
today, the stars are clearly displayed with the constellations faced
from the mist and with the rising moon, appears like a handsome
heroine in short silken attires (dress)22. These all are nothing but
-mind towards his environment.
In the Malavikagnimitram by presenting nature in various
manners Kalidasa communicates messages and lessons through
nature for people of all times to come. In the second act of this play,
Kalidasa minutely observes impact of the hot sun shine. In this hot
season, the sun blazes his all rays and falls perpendicularly in
darkness which delights all. Thus, as being a king of all should
remove wrongs and render good to his subjects23.
Similarly, by comparing the characters of his play to many
natural objects in many times, Kalidasa keeps no distinction between
the natural objects and human beings. In some cases, it has been
observed that the playwright places the animals in higher position
than man. For example, in the second act, Vidusaka compares
Malavika to the moonlight obscured by a row of clouds and the king
is compared to a vulture covetous of meat hovering round the
slaughter house24. Through this comparison Kalidasa hints the fact
that in some respects man is no better than animal. Thus, Kalidasa
brings a harmony between man and nature. Simultaneously, the poet
infuses life into nature. Nature in Kalidasa is a heroine, graceful, and
decorated.
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Various trees and plants have been considered as a very sacred
and respected by the Indians since antiquity, and this stands as a norm
of environment in Indian tradition. The Malavikagnimitram carrys
out a clear instance regarding this aspect. In this connection, the
queen compares Malavika as sandal-wood which feel pity for her as
she used sandal-wood for her shoes. Some other references found in
the Malavikagnimitram
the plant kingdom. For example, in the fourth act of this play,
Vidusaka asks Bakulavalika to prohibit antelope eating away the
shoots of the young Asok bakulavalike esa balasokabrksasya
pallavani langhayati harinah / ehi nivarayava enam 25
environment.
Environmental Awareness in the Vikramorvasiyam:
The Vikramorvasiyam is another five-act play by Kalidasa
relating the love story between the terrestrial king Agnimitra and
celestial Urvasi, where Kalidasa endows poetic grandeur in the
delineation of nature. In this play also the poet associates various
types of animate and inanimate objects of nature which plays vital
roles as the characters of this play. These all ultimately reflect
-mind towards his environment.
As the subject-matter of the first act, king Pururava just returns
from Suryopasana (i.e. pray to the Sun)- sthanat
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pratinivrttam pururavasam mamupetya kathyatam kuto bhavatyah 26 where he heard the bawl of the nymphs. Therefore,
the king goes to protect the nymphs from the demon Kesi and
returned with Urvasi to the Hemakuta-Mountain. Here the whole
environment becomes joyful27.
Thus, in the commencement of this play, the deification of the
natural objects as gods and prayer to them and presentation of the
king as the protector of the world bears a great significant role to
protect the environment. Moreover, in the leading scene of this play,
her friends to creepers which are equally eager to meet each other. i.e.
yavatpunariyam subhrurutsukabhih samutsuka /
sakhibhiryati samparka latabhih sririvartavi //28
-mind towards environment.
In the last scene of the first act, Kalidasa uses a creeper for his
dramatic intrigue. Urvasi with her friends jumps into the sky to return
to the heaven.
So, she request Citralakha to remove it from the creeper-aho
latavitapam ekavali vaijayantika me lagna / (savyajam parivrtya /
rajanam pasyanti) citralekhe mocaya tavadenam /29. This incident
helped both the king and Urvasi to exchange their view. Therefore,
the king shows his gratefulness towards that creeper. i.e.
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priyamacaritam late tvaya me gam
yadiyam punarapyapanganetra parivrttargha a //30
Thus, from the beginning of this play, nature or environment
plays a very significant role like a character of the play. Again, in this
act, the dramatist compares many characters to many natural objects
at different points of time. For example, when the king rescued
Urvasi from the demon Kesi, Kalidasa compares the senseless heart
of Urvasi to a trembling stem of a flower31. Similarly, the king
released from the darkness owing to the rising moon, as the flames of
fire at night released from the deep smoke, and as the impure stream
of Ganges because of breach of the river-sides becoming pure32.
Again, in the next verse Pururava describes Urvasi as created by the
cupid, the lord of erotic sentiment or by the spring season full of
flowers33.
These all bear as the great sense of affiliation of Kalidasa
towards his natural environment.
In the Pravesaka of the second act, behind the curtain, a bard
recites a verse praying the king. Here, the king has been compared by
the bard to the Sun through which the king is presented by Kalidasa
as the protector of the world. i.e.
a lokantatpratihatatatmovrttirasam prajanam
tulyodyogastava dinakrtascadhikaro mato nah /
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tisthatyesa ksanamadhipatirjyotisam vyomamadhye
sasthe bhage tvamapi divasasyatmanascchandavarti //34
Again, in the same act, the king expresses his love-lorn feelings
towards Urvasi. Here the king Pururava has been compared by
Vidusaka to a Cataka-bird and Urvasi to the water where, being a
Cataka-bird, the king is coveting the heavenly rasa (i.e. the love of
water) 35.
Almost all his works, Kalidasa shows his weakness towards the
artificial environment of nature. Kalidasa believes that such a blissful
natural environment can easily provide mental relaxation to anxieties
of a person. In the second act of the Vikramorvasiyam, the king is
being exhausted by the pain of love. Therefore, he goes to the
Pramodavana: viviktadrte nanyadutsukasya saranamasti /
tadbhavanpramadavanamargamadesatu 36. Here, Kalidasa presents a
very exciting picture of the garden. King Agnimitra was welcomed to
etena
pramadavananoditeneva pratyudgato bhavanagantuko
dakhinamarutena 37. The king feels his beloved in each and every
objects of that garden. c.f.
nisincanmaghavimetam latam kaundim ca nartayan /
snehadaksinyayoryogatkamiva pratibhati me //38
Moreover, Kalidasa draws a very alluring picture of the spring
season pervaded thereby. Here, the Kuruvaka-flower appears like the
Asoka-flower are ready to bloom
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being less pollen, the mango-tree becomes gray as if it appeared at the
threshold of youth39. Thus, Kalidasa portrays nature in human-form
through which the dramatist keeps no distinction between human-
beings and nature. Regarding such a natural environment, Kalidasa is
so in favour of that he regards pramodavana (natural garden) as a part
of Nandanavana of the heaven. c.f. etasminnandanavanaikadesa iva 40.
environment.
Some other instances which denotes Kalidasa as a minute
observer towards his surroundings. In the last verse of the second act,
Kalidasa shows impact of the mid-day heat upon peacocks, bee,
flamingo etc. Today, due to hot Sun-shine, the peacocks sit in the
cool basin round the root of a tree, the bees lie in the newly opened
Karnikara bud, avoiding the heated water, the flamingo resorted on
the bank rounded by the lotus-creeper feel very exhausted; instead of
staying at their pleasure house 41.
The third act of the Vikramorvasiyam
perception of spiritual environment. In the beginning of this act, we
have a delightful description of a merry evening of royal-palace of
Agnimitra42. Moreover, in this act, we have the charming picture of
the moon-rise. The moon embellishes the piled up hair of Siva.
Religious rites are performed with its rise. It stratifies the gods and
ancestors with ambrosial rays43. Again, from the conversation
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between the queen and Vidusaka it is clear that queen prepares herself
to worship the moon- darika upanayataupaharikam
yavanmaniharmyagatamscandrapadanarcarmi 44. These all stand as
examples of the attractive mind of Kalidasa towards a spiritual
environment.
Nature as well as environment plays a very significant role in
the fourth act of the Vikramorvasiyam. In this act, the poet highly
brings out the harmony between human beings and nature. In the
beginning of this act we have the information that the king goes to the
Gandharva-madana forest with Urvasi for their honey- urvasi
kila tam ratisahayam rajarsimamatyesu nivesitarajyadhuram
grhityva gandhamadanavam vihartum gata 45
towards an artistic natural environment.
King Pururava, the hero of the play becomes almost mad in
grief due to separation from his beloved. Kalidasa vividly describes
the impact of nature upon a love-mudded man. c.f.
arnisacarah
suradhanuridam durakrstam na nama sarasanam /
ayamapi paturdharasaro na banaparampara
kanakanikasasnigdha vidyutapriya na marmorvarsi //.46
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Again,
ayamekapade taya viyogah priyaya copanatah suduhsaho me /
navavaridharodayadhobhirbhavitavyam ca nirataparddhiramyaih //47
The pleasant objects of this environment sometimes evoke the
love sentiments of Pururava and sometimes give more inspiration to
him. The love mudded Pururava observes a young Kandali-plant,
with its flowers having red lines on them and surcharging with rain
water which remind him the eyes having tears through anger48. These
nt
surrounded by him. Here, Kalidasa depicts a sweet environment of
with his crest, beaten by violence of wind, is looking at the cloud 49. Seeing the direction of the cloud, the royal
swans are ready to go for the Manasa-lake. i.e.
meghasyama diso drstva manasotsukacetasam /
kujitam rajahamsanam nedam nupurasinjitam // 50
The love mudded Pururava is seeking his lost beloved in the
forest asking each and every objects of nature that lies before him and
at the same time sharing his mournful emotions too. The king asks a
peacock about her beloved. i.e.
dirghapanga sitapanga drsta drstiksama bhavet //51
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Again, he finds immense similarities in the objects of nature.
For example, Pururava finds a river full of speedy currents coming
down from mountains. He is sure that this is his beloved in the form
-brows in the form of the
waves, having for girdle the row of agitated birds, drawing tight in the
foam-its garment loosened on account of hurry due to anger, as it
proceeds in an uneven way, I think this is certainly that inexorable
one (i.e. Urvasi) transformed into a river going tortuously revolving 52. And finally, the king reclaimed beloved in
the form of a creeper and embraced her53.
Thus, in this play Kalidasa establishes the natural objects in
human forms and thereby makes an emotional relationship between
man and environment.
In the Vikramorvasiyam, Kalidasa shows the co-existence of
man and nature. In the fifth act of this play, Kalidasa presents Ayusa
as co-existent of a peacock. So, the boy specially requests Tapasi to
send him the peacock Manikanthaka
which has just crossed his infancy. i.e.
yah suptavanmadanke sikhandakanduyanopalavdhasukhah /
tam me jatakalapam presaya manikanthakam sikhinam //54
According to Kalidasa, the penance groves are holy, tranquil
and peaceful sits. In the Vikramorvasiyam also, in grove,
any women, who enters in it is transformed into a creeper. Any type
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of violence is strictly prohibited in the penance-groves. Therefore, in
the fifth act of the play, a Tapasi comes to the palace of Pururava
with a boy (Ayusa) and says that the boy on that day performed a
grhitamisah kila 55. So, the
sage Cyavana order tata
upalabdhavrttantyena bhagavata cyavanenaham samadista /
niryataya hastanyasamiti / tadicchami devimurvasim preksitum 56.
Thus, in the whole play Vikramorvasiyam, nature or
environment plays a very significant role like a character of the play
without which the theme is motionless and unimaginable, and through
which the poet brings a co-relationship between human-beings and
nature. In the Vikramorvasiyam, the poet maintains some aspects of
Indian tradition relating to environment such as- pray to the Sun,57 to
the Moon58, to the rivers59, and so on. In this play, the poet not only
portrays the alluring, exciting picture of nature but also shows its
impact on flora and fauna, except in human-beings. The impact of the
hot sun-shine upon the creatures as found in the last verse of second
act, the impact of nature on Pururava as depicted in the third act may
be cited here as examples. In the Vikramorvasiyam, Kalidasa
presents the king as the protector of environment60. Kalidasa depicts
the penance-groves as a holy place. Anyone who violates the purity of
such places must be punished. In this regard, the creeper-formed
Urvasi in the fourth act and the send back Ayusa from the hermitage
of Cyavan are two strong instances to be cited. All these bear
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testimony of the aware-mind of Kalidasa towards his beloved
environment.
Environmental Awareness in the Abhijnanasakunatalam:
Kalidasa Abhijnanasakunatalm is a full-
flagged unique play in seven acts. The love story between Sakuntala
and Dusyanta is the main theme of the play, through which the
dramatist has been able to occupy a unique position not only in
Sanskrit literature also in the world literature too. In this dramatic
creation, nature as well as environment plays an extra-ordinary role
through which the playwright spreads the importance of nature or
awareness towards his surroundings.
The aware-mind of Kalidasa persists from the very beginning
of this play. The play begins with a benedictory verse, commonly
known as Nandi, where Kalidasa propitiates lord Siva in his eight
forms, the five elements of nature (i.e. the air, water, fire, earth and
ether), the Sun and the Moon as well as the self (or sacrificer).
Kalidasa worships his favorite deity lord Siva, endowed with these
eight visible forms to protect the world. i.e.
61
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As per the starting event of the play, Dusyanta, the hero of the
play enters into the hermitage following a deer to hunt. He was
restrained by Vaikhanasa from killing the hermitage deer62. Dusyanta
withdraws his bow for which he has got the blessing from the sage:
yanma yasya purovamse yuktarupamidam tava /
putramevamgunopetam cakravartinamapnuhi //63
The king was also highly attracted by the environment of the
peaceful penance forest. Therefore, he wanted to purify himself with
a sight of the holy hermitage64 and entered it with a simple dress65.
Thus, Kalidasa shows an immediate impact of peaceful, tranquil,
natural environment. Here, Kalidasa demonstrates the hermitages as a
place of the religious activities by the ascetics; and also as a
nourishing environment for education, health and so on. As observed
e lying under the trees fallen from
the mouth of hollows in the interior of which live parrots, in some
places are oily stones indicated as being used in breaking the nuts of
the Ingudi tree; the deer, having acquired confidence, bear the noise
(of our approach) and do not very their gait; and the passages to the
reservoirs of water are marked with lines of water dropping from the
fringe 66. Thus, from the beginning of the play,
Kalidasa presents nature or environment in a most fascinating manner
which ultimately reflects the aware-mind of Kalidasa towards
environment.
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In the description of Kalidasa, a peaceful natural environment
has endless large enduring impact. Therefore, in the second act, king
Dusyanta gives up his favorite pastime (i.e. hunting). He orders the
general and his soldiers not to disturb the quit atmosphere of the
hermitage. i.e.
gahantam mahisa nipanasalilam srngairmuhustaditam
chayabaddhakadambakam mrgakulam romanthamabhyasyatu /
visrabdham kryatam varahatatibhirmustaksatih palvale
visramam labhatamidam ca sithilajyabandhamasmaddhanuh //67
second act where he compares the heroine of this play to many
objects of nature. In the tenth verse of this play, the king says that
by someone; like a tender sprout not plucked by anyone with the
nails; a gem yet un-pierced; a fresh honey whose flower is (yet)
untested, and the reward of collected merit not yet exhausted (by 68.
In the third act of the play, Kalidasa shows that nature can
share feelings and emotions like human-beings. For example, in the
fifth verse of the third act, Dusyanta feels a great pleasure by the
breeze which is fragmented by lotus spread by ripples of the river
Malini. i.e.
sakyamaravindasurabhih kanavahi malinitaranganam /
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angairanangataptairviralamalingitum pavanah //69
Again, in the same act, Kalidasa compares the love-struck
Sakuntala to a person inflected by Sun-struck. With the unguent of
the Urvasi spread over her breast as well as bracelets of lotus-stalks
worn round the arm for shooting purpose, Sakuntala looks pretty70.
affiliation towards nature or natural environment.
Nature as well as environment takes a remarkable position in
the fourth act of the Abhijnanasakuntalam where the playwright
portrays nature endowed with sharp human feelings and emotion
without any distinction between the two. Sakuntala has to go to her
friends of Sakuntala are busy to collect the gifts from the hermitage
for her decoration at that auspicious time: tena
hyetasmiscutasakhavalambite nalikerasamudgaka etannimittameva
kalantaraksama niksipta maya kesaramalika / tadimam
hastasamnihita kuru / yavadahamapi tasai mrgarocanam
tirthamrttikam durvakisalayaniti mangalasamalambhatani
viracayami / 71
e grove
becomes very sad and wears a very pathetic look. Here, Kalidasa
presents Sakuntala as a daughter of nature. Therefore, as the mother
of her, Mother-Nature had shown all material affection and obligation
towards Sakuntala. So Mother-Nature provides all required ornaments
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l
-
- bhih //72
In the Abhijnanasakuntalam, Sakunatala has been depicted as
a co-existent and undistinguished member of nature. She has a
sisterly affection towards trees and creepers of the hermitage.
Therefore, she never attempts to drink water at first without watering
the trees; and despite her weakness, she never plucks even a leaf for
ornaments. c.f.
tsavah
ham sar 73
Due to such a close relationship, at this emotional movement,
the whole penance-grove becomes very lamentable. The female deer
had dropped their halfly-chewed of darva-grass, the peacocks have
given up their dancing, and the creepers shed tears in the form of
falling off their yellow leaves. i.e.
74
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Due to highly affectionate relationship, at this emotional
movement, a fawn does not leave from her path. c.f.
yasya tvaya branavironamingudinam
tailam nyasicyata mukhe kusasucividdhe /
syamakamustiparivardhitako jahati
75
towards nature. So, he requests all the plants and animals to give her 76. The penance-forest also
permitted her by the sweet note of a cuckoo employed by them to
reply. i.e.
anumatagamana sakuntala tarubhiriyam vanavasabandhubhih /
parabhrtavirutam kalam yatha prativacanikrtamebhiridrsam //77
Thus, in this act of the Abhijnanasakuntalam makes a very
close relationship between human-beings and nature without any
distinction.
These all are nothing but the aware-mind of Kalidasa towards
his surroundings.
In the Abhijnanasakuntalam, Kalidasa presents king Dusyanta
as the protector of environment. The ninth verse of the fifth act
clearly reflects the protective mind of Dusyanta. He is astonished to
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be that the penance of ascetics, who have stored up great religious
merit, has been interrupted by obstruction? Or has evil been worked
by any one, on the animals grazing in the penance-grove? Or it is that
flowering and fructifying of creepers has been withheld through my
misdeeds? With such various misgivings arising in it my mind is 78. Similarly, in the second
and seventh act also the king dedicates himself as the protector of
environment and the king of the heaven respectively79.
Protection of animals from killing has been observed as another
works, Kalidasa strictly prohibits the killing of animals. In the in the
sixth act of the Abhijnanasakuntalam also, when Syala, the police
officer intending to condemn profession of the fisherman, made an
ironical remark that the fisherman was in a very pious profession. i.e.
sahajam kila yadvininditam na khalu tatkarma vivarjaniyam /
amrdureva srotriyah //80
Similarly, in the first act, Vaikhanasa, the ascetic advises the
king Dusyanta not to kill the hermitage deer81. Again, he tells him
rail life fawns and on the other hand
where his sharp-falling shafts 82.
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In the seventh act of the Abhijnanasakuntalam, Dusyanta is
reunited with Sakunatala. Sakuntala becomes very astonished to see
that a boy was playing with a lion. c.f.
ardhapitastanam maturamardaklistakesaram /
prakrditum simhasisu balatkarena karsati //83
Again, the boy was counting the teeth of that lion-
jrmbhasva simha dantaste ganayisye84
Thus, Kalidasa brings a close attachment between man and
environment there
is no distinction between living and non-living organisms. According
to Kalidasa, both have feelings, emotions, happiness and sorrow. So,
in view of the playwright, there should be a perfect harmony between
the two for their equilibrium. Life in solitude was a preference with
Kalidasa85
capital city86. Sarangava compares the city swarmed with peoples as a
house enveloped in fire87.
Thus, in the whole play Abhijnanasakunatalam, Kalidasa
keeps no distinction between living and non-living objects of nature
or environment. He shows that both have feelings, emotions,
happiness and sorrow through which the playwright brings an equal
-mind
towards his environment. Moreover, we have some other concepts in
this play which may prove to be more remarkable in this respect. In
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Sanskrit literature, rivers are regarded as holy organisms for a healthy
environment. In the Abhijnanasakuntalam, the rivers are not merely
physical organisms. As an instance, in the fifth verse of the third act,
Dusyanta imagines the river Malini as a beloved88. Again, in the
eleventh verse of the fourth act a divine power wishes Sakunatala a
charming journey with its intervals mixed with pollen-lotuses89.
Sakunatala is again compared with a river in the twenty first verse of
the fifth act; Dusyanta states that she should not seek to sully her
family and king as a river washing away its banks90. In the sixth act of
the drama, Dusyanta praises river Malini adjoining with the hills of
the father of Gauri (i.e. Himalaya) with the deer seated on its top and
trees suspending its branches with bark-garments91. Thus, Kalidasa
brings an equal harmony between man and environment.
In the Abhijnanasakuntalam, Kalidasa shows his
attractiveness towards the natural environments i.e. the penance-
groves. In the first act of this play, Kalidasa presents the hermitage of
santamidamasramapadam 92.
Similarly, in the seventh act, also Kalidasa narrates the hermitage of
Marica with equal honour displaying his love for tranquil penance-
grove. Being introduced by Matali as the hermitage of Prajapati, full
of Mandara-trees, reared by Aditi, Dusyanta refers this place of bliss
as far superior to the heaven. c.f.
svargadadhikataram nivrtisthanam amrtahr 93.
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According to Kalidasa in such a natural environment, the fierce
animals forget their violent nature. Dusyanta becomes shocked to see
that a little child, (Sarvadamana) for the purpose of playing, forcibly
drags away a lion from its mother and counts its teeth94.
The sacrifices have a significant role of purifying environment
his Abhijnanasakuntalam. For example, in the fourth act, Kanva asks
Sakuntala to go round the sacrificial fire offering the sacrificial sticks
to them and blesses her saying that these sacrificial fires will drive
away sins and the odor of offering will protect her. c.f.
ami vedim paritah vlrptadhisnyah
samidvantah prantasamstirnadarbhah /
apadhnanto duritam havyagandhai-
vaitanastvam vahunayah pavayamtu //95
In the Abhijnanasakuntalam, the earth has been described as
the source of all kinds of seeds; it is the ultimate source that contains
all elements necessary to save mankind or all living creatures.
Kalidasa belives that only a good nourished sustainable environment
can provide a healthy, holy and tranquil human mind. In the seventh
act, Marisca clearly states that a clear reflection is possible in only a
clean mirror; one contaminated by dust only obscures the
transparency of the object. i.e.
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sapadasi pratihata smrtirodharukse
bhartarryapetatamasi prabhuta tatraiva /
chaya na murchati malopahataprasade
suddhe tu darpanatale sulabhavakasa //96
The Abhijnanasakuntalam, presents the king Dusyanta as the
protector of environment. The ups and downs of human life should be
taken in the same light; the Sun having once yoked his steeds moves
on without fatigue. As a tree takes heat on its head but protects people
under its cool shade, so a king should sacrifice his personal comfort
for happiness of his people97.
Kalidasa believes that Nature has own consciousness. He
infuses life into Nature. Therefore, in the description of Kalidasa,
Nature responses to man98. Thus, Kalidasa personifies Nature and
brings out the harmony between human beings and nature which lies
as an
environment.
Thus, the Abhijnanasakuntalam of Kalidasa is a concrete
example of the co-existence of nature and human beings. In the whole
play, nature plays an outstanding role in absence of which the charm
of this play is quite unimaginable. The playwright portrays almost
each and every scene of this play through the background of nature by
his genius poetic excellences, intending to make harmony between
human beings and nature. These all reveal as his great sense of
awareness towards nature or environment. In the first act, the poet
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restrains king Dusyanta from killing animal. Sakuntala, Anasuya,
Pryamvada, all are portrayed by the poet as the volunteers of nature
or environment. Kalidasa projects the king as the protector of
environment above all. In view of Kalidasa nature posseses unending
joy and happiness. It has enduring, graceful and decorated beauty. He
felt about the hidden soul of nature. In this play, therefore he adds the
holy, transparent, elegant and glorious beauty of nature. In the
perception of the playwright, nature is not an inanimate object. Rather
it is like a family member, a brother, a sister, or a friend. It has own
feelings and emotion like human beings and can share with man at the
time of joy and sorrow. So, according to Kalidasa, obviously being a
member of the same family, man has obligations for the others.
Therefore, in the fourth act Kanva says that the Navamallika has
resorted to the mango tree and Sakunatala has been wedded with a
worthy husband. He feels free from all worries and anxieties
regarding both of his daughters99. Thus, in the
Abhijnanasakunatalam, time and again the poet establishes a close
relationship in various ways through poetic excellence, which reveals
his aware-mind towards nature or environment.
So, through the study of his all plays, it has been observed that
in his three plays, Kalidasa maintains the same interrelationship
between man and nature without any distinction. The playwright
infuses life into nature. He presents nature vividly relating with the
human feelings and emotions. Nature in Kalidasa is a heroine,
graceful and decorated. Moreover, in his dramatic creations, we have
some other aspect of Indian tradition relating to environment such as:
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pray to the sun, moon, rivers etc. the natural elements as deity. In his
all plays, the playwright portrays the natural environment i.e. the
hermitages with a great respect. The dramatist is very much strick
towards those who act against the purity of such hermitages.
Similarly, his plays emphasatic mind to protect the
plant and animal kingdom. All these denote
regard towards nature or environment.
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Notes & References:
1. Mal.,I.1
2. Ibid, Act. I, P-16
3. Ibid, I.21
4. Ibid, I.22
5. Ibid, III. 4 , 5
6. Ibid, Act. III, P-74
7. Ibid, II. 12
8. Ibid, II. 10
9. Ibid, III.8
10. Ibid, II.3
11. Ibid, II. P-56
12. Ibid, III. 5
13. Ibid, III.8
14. Ibid, III.4
15. Ibid, III. 6
16. Ibid, IV. 1
17. Ibid, V. 9
18. Ibid, Act. III, P-70
19. Ibid, V.1
20. Ibid, III. 9
21. Ibid, III. 4
22. Ibid, V. 7
23. Ibid, II.12
24. Ibid, Act. II, P-62
25. Ibid, Act. IV, P-142
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26. Vik., Act. I, P-56
27. gatam bhayan bhiru surarisambhavam
trilokaraksi mahima hi vajrinah /
tadetadunmilaya caksurayatam
mahotpalam pratyusasiva padmini //Ibid, I. 5
28. Ibid, I. 12
29. Ibid, Act. I, P-78
30. Ibid, I. 16
31. Ibid, I. 6
32. Ibid, I.7
33. Ibid, I. 8
34. Ibid, II. 1
35. atah khalu bhavata divyarasabhilasina catakavratam
grhitam Ibid, Act. II, P-94
36. Ibid, Act. II, P-94
37. Ibid, Act. II, P-94
38. Ibid, II. 4
39. Ibid, II. 7
40. Ibid, Act. II, P-106
41. Ibid, II. 23
42. Ibid, III. 2
43. Ibid, III. 7
44. Ibid, Act. III, P-162
45. Ibid, Act. IV, P-180
46. Ibid, IV. 1
47. Ibid, IV. 3
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48. Ibid, IV. 5
49. Ibid, IV. 8
50. Ibid, IV. 14
51. Ibid, IV. 9
52. tarangabhrubhanga ksubhitavihagasrenirasana
vikarsanti phenam vasanamiva samrambhasithilam /
yath dhaya bahuso
nadibhavaneyam dhruvamsahana sa parinata //Ibid, IV. 28
53. Ibid, IV. 38
54. Ibid, V. 13
55. Ibid, Act. V, P-232
56. Ibid, Act. V, P-232
57. Ibid, Act. I, P-56
58. Ibid, III. 7
59. Ibid, Act. V, P-218
60. Ibid, II.1
61. AS., I.1
62.
Ibid, Act. I, P-18
63. Ibid, I. 12
64. punyasramadarsanena tavadatmanam
Ibid, Act. I. P-20
65.
Ibid, Act. I, P-22
66. Ibid, I. 14
67. Ibid, II. 6
68. Ibid, II. 10
69. Ibid, III. 5
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70. Ibid, III. 7
71. Ibid, Act. IV, P-134
72. Ibid, IV. 5
73. Ibid, IV. 9
74. Ibid, II. 12
75. Ibid, IV. 14
76. seyam yati sakuantala patigrhan sarvairanujnayatam
Ibid, IV. 9
77. Ibid, IV. 10
78. Ibid, V. 9
79. Ibid, Act. II, P-84, Act. VII, P-252
80. Ibid, VI. 1
81. Ibid, Act. I, P-18
82. sminmrduni
mrgasarire pusparasavivagnih /
kva bata harinakanam jivitam catilolam
kva ca nisitanipata vajrasarah saraste //
Ibid, I. 10
83. Ibid, VII. 14
84. Ibid, Act. VII, P-266
85. GIC, P-59
86. Ibid, V. 11
87. Ibid,, V. 10
88. Ibid, III. 5
89. Ibid, IV. 11
90. Ibid, V. 21
91. Ibid, VI, 17
92. Ibid, I. 15
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93. Ibid, Act. VII, P-262
94. Ibid, Act. VII, P-266
95. Ibid, IV. 8
96. Ibid. VII, 32
97. Ibid. I.16
98. Ibid. IV. 10,12,14
99. Ibid. IV. 13