Question

What role does memory, recollection and recognition play in Kalidasa`s play

Abhijnana Shakuntalam? Discuss with reference to repetition of themes and

motifs in the play. in 1000 words. ​

Answer 1

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Answer 2

In Kalidasa's Abhijana Shakuntalam, memories, reverence and appreciation play a crucial role by taking together the separate lovers and uniting Dushyanta not only with Shakuntala but also their son Bharata.  The related themes of the unconquerable nature of true love and fulfillment of destiny carry through the play. Themes can be established by events that cover up and expose true identities and objects that symbolise truthfulness and promote acknowledgement.

Explanation:

• Dushyanta's failure to recognise Sakuntala's sacred nobility, when she cannot recognise the disguised king when herself, is the earliest dramatic confrontation to the play at the beginning of the first action. This typical misconception underlines the stress of the couple's destiny to love and marry in their obstacle-laden arc.  
• Dushyanta's only hesitation that keeps him from proposing on the spot is the fact that he falsely assumes the nymph to be a simple peasant girl, although he absolutely struck by the beauty of Sakuntala. In the Hindu paradigm, the conditions of the unavoidable lovers' initial obstacle on their marital journey often render a clear statement about the centrality of the caste system. Eventually, they discover their way together and Sakuntala gives birth to a strong hero and dynastic line, but the deep passion and passion felt during their first encounter must subsume the social tradition 's expectations and drive Dushyanta to conceal his true feelings.
• In Abhijñāna-şakuntalam, the focus of the memory and remembrance of Kālida's geniality as a poet-dramatizer is central to turning a flawed king's character, as required under the classical Sanskrit court drama in the epic of the Mahabharata, into an almost faultless royal hero! Kālidāsa made this imaginative adaptation by depicting that the wrong actings of King
• Kalidasa euthanized the theme of Abhijñāna-Shakuntalā from the Adi-Parva of the Mahābharata, where the Dushyanta-Shakuntala episode is laid out over 7 chapters and some 300 odd couplets. It was important to remember the fact that King Dushyanta was the original ancestor of the leading ancient house of ancient India or Bhāratvar Sayah, which, according to the many accept, had its name derived from Du Sayyanta 's uncle, the mythical emperor Bharatha. The name was derived, as many would accept, from the fact that Du Sayyanta was the original ancestor. But the character of Dushyanta , as described in Vyāsa's Mahābhārata, is a mixed bag, formidable in intensity and virtues of the law, but obviously poor for fairer sex attractions that borders on lascivity. This flaw pushes the well-married king in a lovelike affair with a virgin Shakuntalah, and a private union without rituals, only later to reject her out of fear of public ridicule.
• This disavowal was all the more reprehensible, when Shakuntala, after the "circumstantive interregnum" had appeared before the king with her,  and her son Bharata (who was born after the king had left Shakuntala in her heritage in the jungle). The honour and role of Shakuntala was finally supported by the fabulous presence of a divine spirit, which urged the King before his court: 'What Shakuntala words are the truth; you are this boy's father so nuture this son of Shakuntala born, and then this boy will be recognised throughout the world like Bharatha; With the oracular certificate, Dushyanta relieved then proclaimed to his priests and brokers: 'I too know this boy is my son  and if I had approved him on the basis of the words of Shakuntala, people would have denied the authenticity of his birth.' Despite the late acknowledgment
• Dushyanta acts  were not his own, but were the product of an exceedingly "convenient" curse of a wise disposition, which only brought to the notice of a tell-all ring a fleeting lack of recollection. Durvasa Curse and the Missing Wedding Ring are the two genius expeditors by which Kālidāsa rescued Dushyanta as a character who, otherwise, would not be in harmony with Alaṅkara-Sastra (theory of classical drama), and with the excellence that the original ancestor of the bharata race had planned to have!
• That indeed was Kalidasa 's principal thematic obstacle in the customization, in a noble romantic drama, of the cut and dried Mahabharata. A licentious Dushyanta had to become a noble monarch, who was prohibited from doing what was right by an irascible wise providential curse, despite the best of intentions (demonstration by wedding ring which he offered to Sakuntala as a token of abundant 'disclosure!').