Shakuntala Summary

Shakuntala by Kalidasa is primarily about the love story of Shakuntala and King Dushyanta and their reunion. 

One day, King Dushyanta goes to the forest to hunt. He is in pursuit of a blackbuck, and after a long chase, he enters the vicinity of the hermitage of Kanva. An ascetic stops him from hunting his prey, and the king agrees. 

The ascetic invites him to pay a visit to the hermitage. The king conceals his identity, and there he sees Shakuntala with her. He feels attracted to her and introduces himself to them. Shakuntala also feels attracted to him.

The king gets a chance to be with her when two young hermits ask for help on behalf of the hermitage’s people. They want him to protect them from demons. As a result, he spends some days in the penance grove. 

Shakuntala’s health deteriorates after her first meeting with the king. When her friends Anasuya and Priyamvada inquire about it, she confesses her love for the king. They marry without the knowledge of Shakuntala’s foster father, Kanva. After their marriage, the king heads to the capital and promises to see her soon. 

One day, sage Durvasa stands at Shakuntala’s door, and Shakuntala is absent-minded. Her ignorance angers him, and he curses her that the person she is thinking about will not recognize her. 

It horrifies Anasuya and Priyamvada to hear this. Anasuya requests the sage to take his word, but the sage says he cannot reverse it. However, if she presents some ornament as a token of love to the person, its power will cease. 

An invisible voice informs Kanva that Shakuntala is pregnant. Upon hearing the news, Kanva prepares to send her to her husband. A group of hermits takes Shakuntala to the king’s court. 

In the court, Dushyanta does not recognize her. Both Sarngarava and the king try to prove their point. Shakuntala tries to show his ring to him, but much to her surprise, she discovers the ring is missing. She has lost the ring at Saci’s Pool. However, she tries her best to make him believe, but to no avail. 

To settle the issue, the High Priest suggests to Dushyanta that he should keep her until she gives birth. While taking her, a flash of light in a woman’s shape takes Shakuntala, and both vanish instantly.

After some days, the king gets the ring from a fisher. The fisher finds it in the belly of a big carp. The signet ring reminds the king of everything and makes him feel guilty for abandoning Shakuntala. His interest in his duties wanes, and he sends his days longing for her. 

One day, an invisible being abducts the king’s companion, Madhavya. Before Dushyanta attacks him, Indra’s charioteer Matali reveals it is him.

He tells Dushyanta that Indra needs his help to defeat a clan of the demon Kalanemi. Dushyanta moves with Matali for the adventure.

The king defeats the demons, and while returning, he sees from above the hermitage of Marica. He visits the place with Matali. He sees a small child and soon learns he is his son.

Dushyanta meets Shakuntala. Marica tells them the cause of their separation and blesses him. The play ends with the reunion of the Dushyanta and Shakuntala.

Analysis

The Significance of the Ring Episode

Importance of the Ring

Dushyanta gives the ring in the first act of the play. The ring works as a token of love. In Act VI, we learn about the context of the ring from Dushyanta and Madhavya’s conversation. 

The king gives a ring to Shakuntala that is engraved with his name on it. After their Gandharva mode of marriage, Dushyanta leaves his wife for his capital.

Before his departure, Shakuntala asks him when his men will arrive to take her to his palace. Then he offers a Ring and tells her to “Count off each day one letter of my name” (254) on the ring. 

When she would come to the last letter, an escort from the capital will visit to take her.  

We can say that the ring is a symbol of their love and the king’s commitment to his wife. However, he cannot fulfill his commitment because of two reasons: Durvasa’s curse and losing the ring.

Durvasa feels offended when Shakuntala does not receive her guest. He curses her in a fit of anger. Because of the curse, the king forgets his parts of memories associated with Shakuntala. However, there is a provision that the ring will remind him of everything. 

Ring was Found                             

A fisherman finds the royal signet ring in a big carp’s belly. When the chief of the City Police takes the ring to the king, it reminds him of his beloved. He remembers that he has wedded Shakuntala secretly. He soon feels lovesick and guilty for his discarding his wife.

A Dramatic Employment

Act 6 where the fisherman finds the lost ring works as a dramatic device. It propels the action of the play. Without the ring, the king will never realize what he has done to Shakuntala.

Therefore, the discovery of the ring is crucial and works as a reminder for him. The action of the play wouldn’t proceed if he hadn’t found the ring. Therefore, Kalidasa inserts the episode of finding the ring. 

As we know, Kalidasa has borrowed the story from the epic Mahabharata. Vaisampayana tells the story of Shakuntala to King Janamejaya. In Book I of Mahabharata, the narrator of the epic narrates At the Snake sacrifice. 

In the original story, Shakuntala goes to meet the kings; she enters the hall of assembly. She introduces her son to the king and asks him to accept both of them. Though the king remembers everything and his promise of making her son the king, he insults her. He fears his people would doubt the legitimacy of his son. 

Therefore, the king intentionally discards Shakuntala. However, soon, an aerial voice justifies her statement. This is how everyone, including the king, accepts her and the legality of his son.

A Dramatic Invention

In the original story, there are primarily only two characters: Shakuntala and Dushyanta. On the other hand, In Kalidasa’s creation of Shakuntala, various new elements are born from his pen. His additions include the curse of Durvasa and the ring.

The original story is a minor part of the grand epic. It is a plain story about between two lovers and it lacks depth in it. Therefore, Kalidasa adds many new elements to the story and offers his version of Shakuntala. 

Kalidasa develops a new story out of the original for three reasons. First, to make the play more complex than the original story. Second, it makes the story compelling at the same time. Third, he adds new elements so that he can pose questions. 

Kalidasa raises one of them in the discovery scene of the ring. Is a token of love greater than love? He needs the ring to validate his love. Can love with any ring or token?

In this context, Misrakesi also poses a thoughtful observation. She comments, “does a love such as this really need a token of recognition?” (254). Through Misrakesi, Kalidasa questions the strength of true love.

The love that Misrakesi mentions refers to the love between Shakuntala and Dushyanta. The king recognizes her not because of the purity of her soul and her virtue, but by a tangible object. 

Later, when her husband tells him that the ring has reminded him of his marriage. She, in surprise, poses a question. She says, “Where I failed in convincing my lord, this thing has succeeded and done just that.” (276-77).

We notice an insignificant ring plays a defining moment in a woman’s life. She tries to prove the legitimacy of her marriage. King Dushyanta ridicules and hurts her sentiments. 

After a long debate over the issue, the ring remains only the last option. But to Shakuntala’s dismay, she realizes she loses the ring. The ring has fallen from her finger during her worshipping at Saci’s Pool. It becomes a mark of authority to prove her marriage. Since she has lost it, so she loses her authority.

When Dushyanta finds the ring, it legitimizes his marriage with Shakuntala. 

We lay our trust for intangible things like marriage, love, etc. on a tangible objects. For instance, a ring in a marriage becomes proof of marriage engagement or marriage. But does love need a token? 

This is how the dramatist asks complicated questions through his invention of a scene. It is a talent of a dramatist who not only amuses his readers but also makes us thoughtful through questioning.

Significance of the Title of the play

The Recognition of Shakuntala is the English-translated name of Abhijnana Sakuntalam. It is recognition of the worth of Shakuntala. It is recognition of a woman who is not an object of passion.

Dushyanta meets Shakuntala in the hermitage for the first time. There, he instantly feels attracted to her youthful beauty. While hiding in the trees, he secretly looks at her and describes her youthful beauty.

“With rounded breasts concealed by cloth of bark

Fastened at the shoulder in a fine knot,

Her youthful form enfolded like a flower

in its pale leafy sheath enfolded not its glory.” (177)

He keeps describing her in the following words:

“Her lower lip has the rich sheen of young shoots,

her arms the very grace of tender twining stems;

her limbs enchanting as a lovely flower

glow with the radiance of magical youth.” (177)

From these descriptions above, it is clear how he looks at her. He longs for her physical beauty. He does not value her worth. For him, she is an object of pleasure. 

This attitude even continues up to his marriage. Beauty is a dominant factor in his marriage to her. Kalidasa does not choose passionate love as the theme of his play. There are differences between bhoga (passion) and prema (love). 

In Meghaduta, Kalidasa draws a difference between them. In stanza 112 of the poem, he writes:

“absence destroys the affections;

Ah no, the lack of pleasure makes

the craving intense for what is desired,

piling it up into love’s great hoard.” (164)

He is not worthy of attaining her. Kalidasa does not want to convey this message. Until we lose someone, we do not understand the importance of the person. 

Therefore, he adds the entry of Durvasa to the hermitage of the play. Through the curse, it separates both of them. 

He undergoes a period of self-realization. Dushyanta seems to realize her worth only after the discovery of the signet ring. After a long period of grief, he comprehends true love. 

Similarly, at the end of Kalidasa’s Meghaduta, Yaksa reunites with his wife. His outlook on his love attains maturity. 

Importance of Recognition Scene

The scene of recognition in Abhijnana Shakuntalam is significant. In this scene, Dushyanta gets his reward for long-suffering and repentance. That is reuniting with Shakuntala. There is a vast difference between King Dushyanta that we meet in Act I and Act VII. 

In Act VII, we observe he transforms himself from a passionate lover to a mature lover. When he sees Shakuntala after a long time, he expresses his emotion:

“Dressed in dusky garments

Her face fined thin from observing strictest vows, 

Her hair bound in a single braid; pure, upright,

she keeps the long vow of cruel separation

from me who acted so heartless to her.” (275)

His description of Shakuntala in Act I and Act VII is distinguishable. This indicates that Dushyanta learns to respect Shakuntala. He no more sees her as an object of passion. Rather, he sees a woman with virtues.

This is how the king recognizes his dearly beloved. Hence, Kalidasa names it The Recognition of Shakuntala.

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Conflicts of the Private, Public, and Desire and Duty

Kalidasa’s Abhijnana Shakuntalam is a dramatization of conflicts of private, and public, and desire and duty.

We will discuss the conflict by referring to the four Purusharthas. Hindu philosophy prescribes four Purusharthas for men to attain a fulfilled life. These goals are Artha (wealth), Kama (desire), Dharma (duty), and Moksha (liberation). 

If one fulfills the first three goals, the person can attain liberation. In the play’s context, we observe King Dushyanta often forgets his duty after he meets with Shakuntala. The king already has wealth; therefore, we will skip that part in this discussion. We will try to see how the effect of desire affects his dharma. 

Duty of a King

Now the question arises, what is the primary duty of a king? We find the answer in Act I during the king’s hunting. The ascetic reminds the king that he must “protect the distressed, not strike the pure.” (173).

A king’s job is to serve and protect his subjects. However, the king seems to ignore his duty as a king. After having met Shakuntala, he displays his low interest in his responsibility. He says to himself,

“My keenness to return to the Capital has been blunted by meeting Shakuntala.” (185). 

After that, he builds a camp nearby the penance groves. During his stay, two young hermits request for help. They want him to save them from demons. He readily accepts the proposal. He agrees to guard them to prevent the monsters from their sacred rites.

From one point of view, it is appreciable that he is doing his duty, though he is not in his capital. But there is a hidden motto behind his acceptance. He is committed not because of his responsibility. Instead, his hidden motive is to get in touch with Shakuntala.

Madhavya comments on his fortune, 

“Good fortune seizes you by the throat, eh?” (195).

After a while, he encounters a conflict between duty and desire. Karabhaka comes with a message from the Queen Mother. She commands the king to be present at a ceremony. As a son, he needs to follow the command of his mother. 

Therefore, he feels confused. He is between desire and duty. In his dilemma, the king says:

“I am bound to honour my commitments to the holy sages, on the other the command of a revered parent laid on me.” (197).

Dushyanta sends Madhavya to his place. He asks Madhavya to take his place and perform all the ritual duties. Madhavya goes to the capital, and the king goes to the hermitage.

It is an imbalance between desire and duty. The revealing of the desire to be with Shakuntala justifies the statement. He says, 

“I shall set a camp with my companions at some distance from the penance-groves. How hard it is for me to tear my thoughts away from Shakuntala.” (185). 

Shakuntala’s Duty 

It is not only the king, but Shakuntala also disregards her duty. In the absence of Kanva, she is in charge of receiving guests. After falling in love, she has forgotten what her dharma is. 

We notice the negligence of her duty when Durvasa visits the hermitage. She is absent-minded while Durvasa stands at her door. She probably conceives Dushyanta while being separated from him. When the sage does not receive the proper hospitality, he curses her.

Her situation is like Yakṣa in Meghaduta by Kalidasa. He lives happily with his wife. But the problem arises when his desire related to his wife drifts him from his duty. This result in distraction from his service. 

It angers Kubera, and he expels and sends him to Rama’s hill. Similarly, Shakuntala receives a curse from Durvasa for ignoring her duty. 

The King’s public image and private

Dushyanta presents himself in front of them as someone who does not like her. His relationship with his wife is not deep. We get an idea of this from his relationship with Hamscati. Hamscati sings a song to get his attention, but he is indifferent to Hamscati. 

Though he ignores his responsibility after the discovery of the ring, In Act 6, we observe Dushyanta performs his duty twice. First, to save his companion Madhavya and second, to agree to fight with the demons.

He is transformed from a lovesick king to a responsible king. When the chamberlain informs him about the abduction of Madhavya, he becomes alert and is ready to save his friend. He heads to the Palace of Clouds with his bow.

He fulfills his responsibility by helping Madhavya, who seeks his help. 

In the same act, Matali comes with the message that Indra summons him for a battle. He projects himself as a valiant king. 

He defeats a brood of the demon Kalanemi.

This is how Dushyanta, by fulfilling his duty and desire, becomes eligible for liberation. At the end of the play, he asks the sage Marica for a blessing of liberation. He wants to “annihilate forever the round of my births” (281). 

Reference

Kalidasa. The Loom of Time. Translated by Chandra Rajan, Penguin, 1999.