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​Eco sensitivity in Kalidasa’s ​Abhigyan​ ​Shakuntala

​ y​ Ms Anamika, Assistant Professor, St. Xavier’s College, Digha.

B
Research Scholar, Dept. of English, Patna University

It is interesting to observe that the centuries of intellectual darkness in Europe have sometimes coincided with centuries of

light in India. The Veds were composed for the most part before Homer; Kalidas and his contemporaries lived while Rome

was tottering under barbarian assault…The profound and subtle systems of philosophy were also possessed by Kalidas,

and he had some knowledge of astronomy and law. (Ryder introduction)

Kalidasa, ‘…was a Sanskrit poet and dramatist, probably the greatest Indian writer of any epoch

flourished in 5​th​ century B.C, India’ (Gerow) has seven works identified as genuine. They are the

three dramas, namely ​Abhijnana Shakuntala​ (“The Recognition of ​Shakuntala​”),

Vikramorvashi​ (“Urvashi Won by Valour”), and ​Malavikagnimitra​(“Malavika and Agnimitra”); two

epic poems ​Raghuvamsha​ (“Dynasty of Raghu”) and ​Kumarasambhav​ ​(“Birth of the War God”); and

one lyric “​Meghaduta”​ (“Cloud Messenger”) and one descriptive poem, ​The Seasons

 ​AbhijnanaShakuntala​; taken from an episode from the great epic Mahabharata, is a legend about

the seduction of the hermit’s adopted daughter ​Shakuntala​ by ​King Dushyant​, his rejection of the

girl and his child in her womb, and their subsequent reunion in ​heaven​; is ‘adjudged the best Indian

literary effort of all times’ (Gerow). Behind the plot of seduction/love; without setting out to do so,

love and care for nature is surely and subtly woven into the narrative. The rules, behaviour and

social practices portrayed in the play, nurture nature. And it is not a casual matter of choice but a

thought deeply ingrained in consciousness, possible only through generations of cultivation of this

culture.
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Reinterpreting the drama in today’s ecological context would require an understanding of

theoretical and literary concerns of Eco criticism vis a vis ecofeminism. Simply put, ‘Eco criticism is

the study of the relationship between literature and the physical environment. ...takes an

earth-centred approach to literary studies.’ (Glotfelty 1996: xix). ‘It is rereading major literary texts

with an ecocentric perspective with particular attention to the representation of the natural

world,… applying other ecocentric concepts like balance/imbalance, symbiosis and mutuality,

sustainable/unsustainable, emphasising writers who foreground nature, (Barry 255). It is an

interdisciplinary subject involving environment and literature. There was a felt need for restoring

ecological balance and to find a solution to this problem first ecophobia was established i.e. the

environment surrounding us is polluted and unfit for our living. The concerns were transferred to

literature gradually since the late 70s. Eco critics challenged the anthropocentric idea of

environment surrounding man where an unequal binary of man and surrounding was created. In

literature nature used to be employed only in subordination to protagonist’s inner world, ordaining

hugely connotative function where the denotative meaning of nature and its relation to man was

lost. They also study the relationship between nature and literature and how the representation

affects people and how nature was forced to be a silent receptor and a mere instrument to man’s

inner world. Literature’s preoccupation with connotative aspect of literature, either glamorising it

or subordinating it to the protagonist’s mood or simply defining the dramatic requirements,

reflected grave injustice suffered in silence by environment. This unequal ‘Saidian’ binary of man

and environment is symbolic of man’s insensitive exploitative attitude to nature. Isn’t man also a

part of his environment? Current theory focusses on nature as a living and not merely a mechanical

entity and what possible repercussions man’s mindless greedy exploitation can incur. A similar

paradigm in the play shows ​King Dushyant,​ hunting in the forest, for pleasure, when hermits

intervened to bring forth ecosensitive perspective to the notice of the king, unlike modern days, he

quickly concedes to their entreaties. ​Abhigyan​ ​Shakuntala’​ s world is very sensitive towards nature.
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If literature is any representation of history, society and culture, seeing this beautiful retelling of the

love story in modern context, easily acquaints us with naturalised ecosensitive culture that is in

absolute tandem with modern day environmental needs/sanctions. The rules, behaviour and social

practices portrayed in the play take a stance of modern day radical ecology which challenges

anthropocentrism and which insists that human beings must subordinate their interests to those of

their planet. As the play unfolds we become more and more aware of care for nature being carried

out, with great affection and devotion, as social, moral and religious responsibility. Their ​tapovan i​ s

a perfect ​bioregion​(a natural region ,with stability and diversity, which is defined by its ecological

coherence).The hermits nurture nature in the ​tapovan​, the king provides protection to them and in

return gets their blessings and it is not a casual matter of choice but a thought deeply ingrained in

consciousness unlike the conscience of modern man who underestimates the power of prayer and

is mostly guided by economic exploits. It would have been possible only through deep

understanding of nature and its ways and this culture fostered over generations. ​Shakuntala​ and

other ​tapovan​ hermits along with ​King Dushyant​ in ​Abhijnana Shakuntala​ (literature as a
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representation of history and culture) practice what ‘​deep ecologists’’ today are trying to

formulate. Life had care for nature as an inherent/naturalised state of existence. The play can

easily be read as defying anthropocentrism and shows human beings subordinating their desires

and interests to those of their environment.

Tracing representation of man’s attitude to nature in ​Abhigyan Shakuntala​ brings forth a very

sensitive involvement with environment, free of selective/selfish politics. Nature is not merely

glamorised mountains, autumn wind and daffodils. Ecocritical study of landscape, nature, geography

in this drama speaks of its deep ecologist culture. Landscape is caring, nature is cared for and

geography divided into two parts, hermitage and palace, one engaged with nature other committed

to protecting it. In the first four acts of the drama the setting is mostly forest and the hermitage. Last

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deep ecology- a radical form of ecology which challenges anthropocentrism and which insists that human beings must subordinate their
interests to those of their planet (Coupe)
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three acts happen in the palace and heaven. The inference we draw from the play is whatever exists

has a right to exist and humans lose themselves in serving nature instead of exploiting it from an

assumed superior hierarchy. Fawns mingle with humans in trust at the hermitage. ​Shakuntala​ calls

madhavi​ vine, her sister and waters plants even before drinking herself in the morning. ​King

Dushyant c​ onsiders himself responsible for the flourishing of flora and fauna and prays that no sin of

his, cause damage to any of it. Herein human accountability to the environment is part of the text’s

ethical orientation.

Kalidasa’s works describe the beauty of nature with a precise elegance of metaphor that depicts

man, nature and culture and dual relationship between nature and culture wherein “human

accountability to the environment is part of the text’s ethical orientation” (Buell). An ecocritical

vivisection of the play shows ​King Dushyant ​agonising over lost love for having taken undue

advantage of innocent and giving: ​Shakuntala/​ nature. Trustful fawns mingle with men and are

neither alerted by approaching footsteps of King nor run away as the King draws near. In other

words ​Shakuntala​ and ashram’s relationship with palace and ​King Dushyant​(symbolising culture) and

its pushes and pulls are analysed in the play. ‘Encyclopedia of Religion and Nature’ says Deep

Ecology Platform was formulated by Arne Naess and George Sessions in April 1984, during a camping

trip in Death Valley, California, the Deep Ecology Platform (DEP) (Bron Taylor).Some of the

eight-point platform is clearly evidenced in ​Abhigyan Shakuntala​:

‘1.Human and nonhuman life alike have inherent value.’ (Bron Taylor 457) Borne of greedy

indifference towards nature, human interest was not the only legitimate claim. Hermit at Kanva

Rishi’s ​tapovan ​(forest meant for penace and not exploitation)​ ​plead with the king to save the deer:

-‘O King, this deer belongs to the hermitage. ‘Why should his tender form expire, as blossoms perish

in the fire? How could that gentle life endure the deadly arrow, sharp and sure? Restore your arrow

to the quiver; to you were weapons lent the broken-hearted to deliver, Not strike the innocent.’

King (bowing low)- ‘​It is done.’​ (He does so.)

Hermit (joyfully)- ​‘A deed worthy of you, scion of Puru's race, and shining example of kings. May you
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beget a son to rule earth and heaven.’ ​(Arthur.W.Ryder,

http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 1)

2. Richness and diversity of life contribute to realizing these values, and are themselves valuable.

(Bron Taylor 457) Kalidasa’s ​Shakuntala​ ‘sustain(ed) an interest in nature for itself.’ (Garrard 35).

Shakuntala ​says​-‘Ever since I saw the good king who protects the pious grove...​ ​I love him, and it

makes me feel like this.​ (looking ahead) She says ‘​Oh, girls, that mango-tree is trying to tell me

something with his branches that move in the wind like fingers as if gesturing me to come. I must go

and see him.’​ (She does so.)​ (​ Arthur.W.Ryder,

http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 1)​.

Anusuya- ​‘Oh, Shakuntala! Here is the jasmine-vine that you named Light of the Grove. She has

chosen the mango-tree as her husband.’

Shakuntala​ (approaches and looks at it, joyfully). ​‘What a pretty pair they make. The jasmine shows

her youth in her fresh flowers, and the mango-tree shows his strength in his ripening fruit.’​ (She

stands gazing at them.)

Shakuntala-‘It is too early, but the spring-creeper is covered with buds down to the very root.’

Priyamvada- ‘​I'm not teasing. I really heard Father Kanva say that this flowering vine was to be a

symbol of your coming happiness. It indicates you will find a worthy groom and very soon’

(Arthur.W.Ryder act 1)

3. Humans have no right to reduce richness or diversity except to satisfy vital needs. (Bron Taylor)

This is so well expressed in the king’s worried lament over an imagined disaster when messengers

from ​Rishi Kanva’s​ hermitage reach his palace. The monarch is worried about flora and fauna lest

some species became extinct because of his sins. ​‘Do leaguèd powers of sin conspire to balk

religion's pure desire? Has wrong been done to beasts that roam contented round the hermits'

home? Do plants no longer bud and flower, to warn me of abuse of power? These doubts and more

assail my mind, but leave me puzzled, lost, and blind.’​ (Arthur.W.Ryder,

http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 5)
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5. Present human interference with the nonhuman world is already excessive and is worsening.

(Bron Taylor)

A voice against excessive human interference is heard from behind the scenes. ‘​Hermits! Hermits!

Prepare to defend the creatures in our pious grove. King Dushyanta is hunting in the neighbourhood’.

(Arthur.W.Ryder, http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 1)​. L​ ater little

​ laying with the lion’s cubs symbolises an interference by innocent

Prince​ Sarvadaman Bharata p

child/ignorant humankind, dangers of which are being explained to the child by his attendants and

the hermit women’s cry for help. The attendants tell little baby prince ​‘the lioness will chase you’

(Sinh, Shakuntala in hindi pdf act 7, 91)/ ‘The lioness will spring at you if you don't let her baby go.’

(Arthur.W.Ryder, http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 7).But in both

the translations referred to, attendants do not say, lioness will kill little Bharat, which could be the

only response if at all the situation would be re enacted today. Combined with the hermit women’s

response, little princes’s insistence upon counting the teeth of the cub speaks volumes of a trustful

co existence between man and beast. This couldn’t have been possible without long term checks,

social and moral, on human interference.

6. Economic, technological, and ideological policies must be changed, in a way that leads to state of

affairs deeply different from the present. But policies in Kalidasa’s dramatic world (considering it is

some indicator of culture then) were clearly nature friendly, where the onus/responsibilities of

protecting environment rested on king. Even though the king and the palace unlike hermitage do not

appear to be engaged with the nurture of nature, they were responsible for the protection to

hermitage and flora and fauna. As seen in textual evidence earlier in point 3. King’s accountability to

safeguard of the species is expressed in the Hindi translation also. “​Kanva Rishi ne kya sandesha

bheja hoga?Kahin tapasviyon ke tap mein kisi ne vighna to na dala athva tapovantapovan ke jivon ko

kisi ne sataya to nahin, athvah mere papon se tapasvi ki koi lata belon ka fulna to nahin mit gaya?ye

sab asmanjas mere chit ko vyakul karte hain.”​ (Sinh, Shakuntala in hindi pdf 56). Let us

read/understand ​paap/​ sin as exploitation of nature resulting in extinction of species.

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Shakuntala​ did not drink water before watering the plants. Her friends take us into a heightened

sensitivity/perception of the pure, pristine natural culture where nature is revered, nurtured and

protected selflessly and nature provides sustenance, solace, hope… the list is long. We see many

hermitage girls carrying pots, according to their strength, to water the trees. King enters the

hermitage in all humbleness, stripping himself of all kingly marks of pride (jewels and bow), not

wanting to appear arrogant in humble surroundings and disturb its beautiful mutually sensitive

coexistence (between man and nature) in beauty and harmony.

First friend-​‘It seems to me, dear, that Father Kanva cares more for the hermitage trees than he does

for you. You are delicate as a jasmine blossom, yet he tells you to fill the trenches about the trees.’

Shakuntala​- ​‘Oh, it isn't Father's bidding so much. I feel like a real sister to them.’ (She waters the

trees.) (​ Arthur.W.Ryder, http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 4)

The most touching highlight of ​Shakuntala’​ s deep love for nature we hear of is at her departure, in

Rishi Kanva seeking blessings from the plants that she always watered first, before drinking water

herself. Despite her longings for the king she seeks the wellbeing of the pregnant and tired doe

roaming around the hermitage. A strong example of mutual love care/concern and trust between

the doe and ​Shakuntala​ is, she finding doe’s wellbeing worthy of news to her when she is gone far

away to the palace. Love for nature is interwoven into their very existence. Her friend echoes the

sentiment.

Priyamvada-‘Shakuntala, we have watered the trees that blossom in the summer-time. Now let's

sprinkle those whose flowering-time is past. That will be a better deed, because we shall not be

working for a reward.’

Shakuntala-‘ What a pretty idea!’​ (She does so.) (Arthur.W.Ryder,

http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 1)

This play by Kalidasa embodies ecocritical values and representations are in sync with what Green

Studies is trying to achieve. The beauty of nature is depicted with a precise elegance of metaphor

that depicts man, nature and disparate cultures, one of the forests and another of the palaces. The
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symbiotic relationship between nature and culture where even an exploiter of nature by training,

bows in all humility and vouches to protect it only to be blessed by the bountiful nature. Trustful

fawns mingling with men are neither alerted by approaching footsteps of King nor run away as the

King draws near.

An ecocritical vivisection of ​King Dushyant’​ s agony over lost love could be traced to his taking undue

advantage of innocent and giving: ​Shakuntala​/nature. ​Abhigyan​ ​Shakuntala​ begins with a detailed

observation of facts of nature painted beautifully in his poetry/dramas. A symbiotic and sustainable

relationship between nature and Hermits is expressed with heightened sensitivity towards nature.

Kalidasa's writing is an exposition of love for external nature. His instinctive belief in ​advaitvad

(monotheism/non duality), to feel that all life, from plant to god, is truly one; is visible in the

reverence shown towards nature in the drama. This thought is very much in sync with the ‘deep

ecologist’s’ non anthropocentric stance. Sensitivity to nature as an intelligent living entity deserving

of all the selfless care and nurture it showers on us has been expressed with convincing beauty by

the great ancient poet. ​Shakuntala​ likens the Birula tree that she is watering, to her dear sibling.

And then her friend suggests watering even those plants that are out of blossoming season.

Symbolically it might connote selfless serving of the flowerless, fruitless, profitless and aged.

Shakuntala​ says ‘​Madhvi ki lata meri behan hai, ise kyon na sinchti​.’(the madhvi creeper is like my

sister. Why wouldn’t I water it?) (Sinh, Shakuntala in hindi pdf act1 pg 7)

Nature pervades his writing. He personifies rivers and mountains and trees; to him they have a

conscious individuality as truly and as certainly as animals or men or gods.

‘Ecocentrical values of meticulous observation, collective ethical responsibility and the claims of the

world beyond ourselves’ (Barry 255)is visible in Priyamvada’s reminder to ​Shakuntala​ that she owes

Priyamvada watering of two rows of trees. And then we hear the alarming cry of hermits, let us

​ indlessly of
assume, symbolical of nature herself and the massive animal, destroying the ​tapovan m

so called developed/cultured/civilized city life that is taking mad destructive leaps towards nature.

The hermits cry against the attack for protection and seek help of the king. King having fallen in love
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with ​Shakuntala,​ stops short of killing deers, his beloved’s companion who taught innocence to her.

This very love prevented tigress’s attack on King Sarvadaman Bharata when he played with her cubs.

Shakuntala f​ ell in love with the king the moment she saw him protect the pious grove​. I​ n other

words love inspires care and protection and contrarily lovelessness inspires ruthless avaricious

insensitive loot and plunder and mutual killing; that is commons today between man and nature.

‘Kalidasa's poetry grew among wild mountains and forests untouched by man; where trees and flowers are

indeed individuals, fully conscious of a personal life and happy in that life. The return to urban surroundings

makes the vision fade; yet the memory remains, like a great love or a glimpse of mystic insight, as an intuitive

conviction of a higher truth. ’ (Arthur.W.Ryder, http://www.gutenberg.org/files/16659/16659-h/16659-h.htm

introduction)

But Kalidasa detailed observation of animal’s behaviour in writing,

‘The hornèd buffalo may shake the turbid water of the lake; shade-seeking deer may chew the cud, boars dig and eat the

roots of swamp-grass in the mud.’ ​ ​ cannot be merely poetic as Ryder would have it​.

‘Rarely has a man walked our earth who observed the phenomena of living nature as accurately as he, though his accuracy

was of course that of the poet, not that of the scientist.’ (Arthur.W.Ryder,

http://www.gutenberg.org/files/16659/16659-h/16659-h.htm introduction)

On the contrary, without an innate and sensitive awareness of nature, Kalidas could not have written

with mind and senses ever alert to nature showing a loving/devoted/intelligent symbiotic

relationship between his protagonist ​Shakuntala​ and her natural surroundings to which ​King

Dushyant ​too, willingly bows with respect. ​‘There is a little fawn, looking all about him. He has

probably lost his mother and is trying to find her. I am going to help him.’​ says Priyamvada.

(Arthur.W.Ryder, http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 3) This deeply

seated sensitivity borne care for nature pervading the hermitage also infects King’s heart when in its

company. Probably it was also a part of his early education (usually princes were educated in

hermitages), resurfacing in the pious environs of hermitage.

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Gerow’s calling ​Shakuntala​ ‘sentimental’ doesn’t sound justified enough. Only a deep devotion to

nature can respond as ​Shakuntala​ does. ​Shakuntala​ (stumbling) ‘​Oh, oh! Who is it that keeps pulling

at my dress, as if to hinder me?’​ (She turns round to see.)

Kanva-‘​It is the fawn whose lip, when torn by kusha-grass, you soothed with oil; the fawn who gladly

nibbled corn held in your hand; with loving toil you have adopted him, and he would never leave you

willingly.​’

Shakuntala​-​‘My dear, why should you follow me when I am going away from home? Your mother

died when you were born and I brought you up. Now I am leaving you, and Father Kanva will take

care of you. Go back, dear! Go back!’ ​(She walks away, weeping.) (Arthur.W.Ryder,

http://www.gutenberg.org/files/16659/16659-h/16659-h.htm act 4) There is ample evidence of a

selfless and deeply sensitive connection with nature that sustained a healthy relationship at ​Rishi

Kanva’s​ hermitage.

Of course in the second half when palaces, representative of royal culture takes over, we hear less of

nature, its care and mutual dependence. Although when King of the palace comes in contact with

Shakuntala​ and her arboreal abode, bows down in reverence, leaving behind bow and arrows. Fawns

care freely mingling with human, attracts his attention. The king introduces himself as the protector

of sages, their hermitage and their forest. That means there was this rule of the law to protect

hermitage and its natural surroundings in return of blessings and prayers given to him by the

hermits. Despite a wrong beginning or a momentary passion for predation, ​King Dushyant ​quickly

becomes conscious of his ecological responsibility. His culture makes him take immediate note of the

hermits request to spare his prey, the hermitage deer. And the hermits shower him with blessings of

a happy future and a worthy son (‘...beget a son to rule earth and heaven.’ (Sinh, Shakuntala in hindi

pdf) and according to Indian Astrology good children mean a secure future. If only we could imbibe

the deep ecosensitivity of the hermit in comparing the hermitage deer to a blossom against a

fire/arrow of ​King Dushyant t​ hen as the king says ‘...A sight of the pious hermitage will purify us.’

There even a predatory eye gauges the purity of thought and life in ​tapovan​ where ‘​trustful deer that
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do not run away as we draw near’ ​(Placeholder4act 1). Or can we interpret this gauging as part of

King’s cultural heritage only temporarily overshadowed with desire for hunting that gives way soon?

Nature in the play is capable of healing humans. ​Shakuntala’​ s reverence and faith ordained lovelorn

prayer to one of the climbers, ‘​o pain stealing vines I pray to you do provide happiness to me

someday’​ act 3​ ​(Sinh, Shakuntala in hindi pdf 38) flashes an eco-revering consciousness.

Kalidasa and his world (considering his play a kind of a history) understood in the fifth century what

modern world is grappling with, in ecocriticism/green studies: that the world was not made for man,

that man reaches his full stature only as he realises the dignity and worth of life that is not human.

With a quick slipperiness of mercurial blob that disintegrates into several miniscule particles

representing multiple realities of pure nature and culture and recombine again seamlessly, Kalidas

paints exploiter and nurturer that do combine in a common globule where all separation and duality

of pure nature and culture ends. “​Tum dono ek hi van ke vasi ho aur ek se manohar ho​”(both of yo

are residents of same forest and equally pleasing.) (Sinh, Shakuntala in hindi pdf 61)In one breadth

and flash Kalidas, in his play achieves seamless merging of culture and nature, palace and wilderness,

Dushyant and ​Shakuntala,​ pre-empting any Lyotardian ‘incredulity’, through an apparently

exaggerated description of their symbiotic relationship. Mutually incompatible duality between man

and environment is never a problem and we never see Kalidasa depicting nature as a silent

receptor/sufferer/subordinate to human needs. The hermits plead with the exploiter/predator ​King

Dushyant ​to spare the life of the deer comparing him to a ball of cotton/blossom against the fiery

arrow of the king. And the King immediately concedes. Kalidasa ‘sustains an interest in nature for

itself’ (Garrard 35) revealing a consciousness which is the substratum of creation, offering and

surrendering to that consciousness which is free from any imperfections or suffering, which is all

love, intelligence, beauty and truth. Finally ​Shakuntala​ cried in deep angst seeks healing nature’s

help, nature that in past she had selflessly nurtured. ​‘he santap harne wali lataon main tumse vinti

karti hun ki kabhi phir sukh dilana’ (​ Sinh, Shakuntala in hindi pdf act 3, pg 38)
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