Teaching Mahakavi Kalidas's "Abhigyan Shakuntalam" or "Abhinjnanasakuntalam" (The Fatal Ring or The Recognition of Sakuntala) to English Literature Students

Mahakavi Kalidas's "Abhigyan Shakuntalam" or "Abhinjnanasakuntalam" (The Fatal Ring or The Recognition of Sakuntala) , written between 1 B.C. to 400 A.D., is one of the most famous and widely-read Sanskrit works of Indian literature. It is a play that tells the story of King Dushyanta and Shakuntala, who fall in love and then are separated due to a curse. The origin of the story is Adiparva of "Mahabharata" (chapters 67-74). Notably, the Sanskrit dramatist wrote on the mythological or historical themes because the audiences liked this type of plays at that time. The keystone work in Sanskrit literature is Bharata Muni’s "Natyashastra". Following the same tradition, this seven act play is known for its beautiful language, complex characters, and rich cultural themes. For English literature students who may be unfamiliar with Indian literature, teaching "Abhigyan Shakuntalam" can be a challenging but rewarding experience. In this article, we will discuss some strategies for teaching this important work to English literature students. But Before that, it is better to understand the storyline and characters:

"Abhigyan Shakuntalam" or "Abhinjnanasakuntalam" (The Fatal Ring or The Recognition of Sakuntala) : An Epic Tale of Love and Nature

 Shakuntalam, written by Mahakavi Kalidas, is a magnificent play that has received universal acclaim. The play comprises seven acts that narrate the famous love story of King Dushyant and Shakuntala, a woman of great beauty and virtue. This romantic tale has been presented with creativity and artistic flair, capturing the essence of human emotions. The language used in the play is so melodious that it can be compared to the sweet music of a Veena.

Image: Instagram

The play is named after its heroine, Shakuntala, who plays a crucial role in the story. Her lover, King Dushyant, is the hero of the play. If Shakuntala is an epitome of womanhood, Dushyant is the epitome of a noble and valiant man. Shakuntala, who is between fifteen to eighteen years old, possesses stunning beauty that she has inherited from her mother, Menaka. Dushyant, who appears to be youthful and charming, is also energetic, handsome, and has a sweet way of speaking. Shakuntala's exquisite beauty captivates the heart of King Dushyant.

Shakuntala is not only beautiful but also has a pure heart and a virtuous mind. Her beauty is natural and not artificial. She has a feminine humility and a sound intellect. Dushyant, on the other hand, is a man of great honor. As a man of respect, he wants to know if Shakuntala is married or even betrothed. He shows his utmost respect to the sages. Like Dushyant, Shakuntala also exhibits a full sense of female dignity. Her words demonstrate her strong sense of female pride and respect for the elders.

The plot of the play is intriguing and well-crafted, showcasing an exemplary development of the story. During a hunt, King Dushyant falls in love with Shakuntala and learns that she is the adopted daughter of Kanva. She is also attracted to the grace and charm of the king. This love affair leads to marriage, and Dushyant marries Shakuntala by the Gandharva form of marriage. Before leaving for the capital, Dushyant promises to return soon.

In a moment of solitude, the hot-tempered sage Durvasa arrives while Shakuntala is thinking about her absent husband. Consequently, she fails to offer proper hospitality to him, and in anger, Durvasa curses her. He says, "He of whom thou art thinking shall not remember thee even when reminded (of you)."

After returning, Dushyant becomes preoccupied with the affairs of the state and forgets about his forest bride. Shakuntala is pregnant at this point and is sent to the royal palace. When she arrives there, Dushyant refuses to recognize her. She tries to show him his wedding ring, but it is not on her finger.

Finally, King Dushyant finds his wedding ring through a fisherman. He then narrates the entire story of his marriage to Shakuntala, and he starts living a life of sorrow. Meanwhile, Indra proposes that he destroy troublesome demons, and the king succeeds in his task. On his way back, he met a young boy, Bharata. The boy who is indeed the son of the king took him to Shakuntala, and thus the family was reunited. The king apologizes for everything that has happened with Shakuntala. The king visit’s the sage Mareech to pay his regards. The sage tells the king that due to the curse, the king could not remember anything about his marriage with Shakuntala. So the king proves his innocence. The sage blesses both of them and sends them back to their kingdom. This boy is Bharat who becomes a great king and a warrior. The play ends on a happy note.

Understanding the Context

Before diving into the play itself, it's important to give students a sense of the historical and cultural context in which it was written. Mahakavi Kalidas lived in ancient India, in the 1st to 5th century CE, during the Gupta period. The play was written in Sanskrit, the language of the Indian elite, and was performed in royal courts. Students should be introduced to the broader cultural and historical context of ancient India, including the caste system, the importance of religion, and the role of literature in society.

Translation and Interpretation

Image: Sikkim Express

One of the biggest challenges in teaching "Abhigyan Shakuntalam" to English literature students is the language barrier. Since the play was written in Sanskrit, it may be difficult for students to understand the language and cultural references. One solution is to provide a good English translation of the play, such as the one by Arthur W. Ryder. During the colonial era, Sir William Jones' translation of Kalidas's "Abhigyan Shakuntalam" in 1790s and the subsequent translations in  Germany , French  and other European languages had some certain limitations.  Goethe published an epigram about Shakuntala in 1791, and in his "Faust" he adopted a theatrical convention from the prologue of Kalidas's play. Globalization opened up its doors to Kalidasa's works farther and till today this play has been translated into more than fifty languages. It gained a lot of international acclaim after its translation and was admired by many great philosophers and theatre personalities. However, it's important to remember that translation is not a perfect process, and some of the meaning and nuance may be lost in translation. Encouraging students to engage in close reading and interpretation can help mitigate this issue. If possible learn Sanskrit first.

Characters and Themes

Major/ Important Dramatis personae (Characters)

Ashram Dwellers

Shakuntala [Biological Daughter of Vishwamitra and Menaka]

Anasuya [Shakuntala’s friend and confidante]

Priyangvada [Shakuntala’s friend and confidante]

Gautami

Sharangrav, and Sharadvat

Sages

Rishi Vishwamitra

Rishi Kanva [ Foster-father to Shkuntala]

Durvasa muni

Rishi Mareech

Puru Dynasty

Dushyanta

Bharat

Gods, Divinities and Demons

Lord Indra

Menaka

Matali [The charioteer of Indra]

Other Apsaras

Demons

Others

Fisherman

Guard

Vidushaka [The Fool] [Dushyanta’s Confidante]

The characters in "Abhigyan Shakuntalam" are complex and multi-dimensional, with their own motivations and flaws. The play also explores important cultural themes such as love, duty, and the relationship between the individual and society. Teaching the play through the lens of character and theme can be an effective way to engage students and encourage critical thinking.  Particularly the character of Shakuntala can be read as the symbol of Indian womanhood. Assigning close reading assignments or group discussions around specific characters or themes can be a useful way to promote deeper understanding.

Performance and Adaptation

"Abhigyan Shakuntalam" was originally intended to be performed, and teaching the play through performance can be an effective way to engage students and bring the text to life. Encouraging students to stage their own performances or adaptations of the play can be a useful way to foster creativity and critical thinking. In 1789, Sir William Jones translated the play into English and published it. This translation is considered a landmark in the history of the translation of Indian literature into English. Later Gustav Holst composed memorable final impression of Kalidasa.  Alternatively, watching or reading adaptations of the play, such as the upcoming film "Shakuntala" directed by Gunasekhar, can help students connect with the material in a different way."Abhigyan Sakuntala" has been adapted and performed in various forms in different parts of the world. The play is considered a classic of Sanskrit literature and has been translated into many languages, including English, French, German, and Russian.

Cross-Cultural Connections

Finally, it's important to acknowledge that "Abhigyan Shakuntalam" is not only an important work of Indian literature, but also part of a broader global literary tradition. Teaching the play in the context of cross-cultural connections can help students understand how literature can transcend boundaries and connect people across time and space. For example, exploring the influence of Indian literature on Western writers such as T.S. Eliot and W.B. Yeats can be a useful way to situate "Abhigyan Shakuntalam" within a broader literary tradition.

Conclusion 

The play is notable for its beautiful language, vivid characters, and intricate plot. It has been translated into numerous languages, including English, and has been adapted into plays, operas, and  Bollywood films. In English literature, "Abhigyan Shakuntalam" has been compared to Shakespeare's plays for its poetic language and exploration of human emotions. The play's themes of love, betrayal, and redemption continue to resonate with audiences around the world, making it a timeless classic of world literature.

Ardhendu De

Reference

1. Jones, W., Cannon, G., & Pandey, S. (1976, October). Sir William Jones Revisited: On His Translation of the Śakuntalā. Journal of the American Oriental Society, 96(4), 528. https://doi.org/10.2307/600085

2. Bharata | Indian sage and writer. (n.d.). Encyclopedia Britannica. https://www.britannica.com/biography/Bharata-Indian-sage-and-writer

3. Kalidasa Abhijnana Shakuntalam, tr. Chandra Rajan, in Kalidasa: The Loom of Time (New Delhi: Penguin, 1989)

4. Samantha, Gunasekhar and Mohan Babu’s film “Shaakuntalam” gets a new release date! - Times of India. (2023, February 10). The Times of India. https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/samantha-gunasekhar-and-mohan-babus-film-shaakuntalam-gets-a-new-release-date/articleshow/97799532.cms

5. E. (2016, October 17). Kalidasa: The Recognition of Sakuntala | Common Errors in English Usage and More | Washington State University. Kalidasa: The Recognition of Sakuntala | Common Errors in English Usage and More | Washington State University. https://brians.wsu.edu/2016/10/17/kalidasa-the-recognition-of-sakuntala/

6. Devadhar, C. R. (Ed.). (1999, January 1). Works of Kalidasa: Dramas. https://doi.org/10.1604/9788120800236

7. Shakuntala: A true representative of Indian womanhood - Sikkimexpress. (n.d.). Sikkimexpress. http://www.sikkimexpress.com/shakuntala-a-true-representative-of-indian-womanhood