environmental awareness in the plays environmental...

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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.

137

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

148

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

150

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.

151

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

152

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.

153

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.

154

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

155

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:

156

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.

157

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


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

158

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


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



38. Ibid, II. 4

39. Ibid, II. 7


41. Ibid, II. 23

42. Ibid, III. 2

43. Ibid, III. 7



46. Ibid, IV. 1

47. Ibid, IV. 3

159

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


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

160

70. Ibid, III. 7


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


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

161



95. Ibid, IV. 8

96. Ibid. VII, 32

97. Ibid. I.16

98. Ibid. IV. 10,12,14

99. Ibid. IV. 13

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