Literature

Thus after reuniting with his ministers, Mṛgāṅkadatta continued his journey through the jungles of the Vindhyās. When they reached a place which had ample shade and water, they took a bath and ate the fruits they had gathered. Right then, from behind a shrub nearby, they overheard someone talking. Out of curiosity they slowly went there. To their surprise they saw a huge elephant taking care of a tired blind man who lay on the ground. It was offering him fruits and water and fanning cool air upon him with its huge ears.

Bhavabhūti was a Sanskrit poet par excellence. He lived in the eighth century CE. A thorough scholar of many branches of Indian learning, he composed three plays: Mahāvīra-carita, Mālatī-mādhava and Uttara-rāma-carita. All his works bear an indelible imprint of his personality – a feature rarely seen in Sanskrit poems. This essay attempts to sketch a portrait of the great playwright using the hues and strokes available in his works.

There, he found a yakṣiṇī, who had a divine charm. She was in the company of her maidens. Śrīdarśana saw that they were carrying varieties of delicacies and drinks; he gathered courage and went to them seeking the share of a guest. One of the women was impressed with his courage and offered food that would suffice for three people. After the three ate their portions of food, Mukhuraka said – “Ārya! You really are a man filled with divine qualities. I will offer my sister, this charming girl, in marriage to you!” He agreed and said – “So be it!

Über-human and sub-human characters do not produce rasa unless they are ‘humanized’ – this is a fundamental tenet of aesthetics. A great poet knows from experience that his work will gain depth only when the characters pass through various trials involving basic human feelings such as love, fury and hatred. Vālmīki and Vyāsa, Kālidāsa’s predecessors, have portrayed their protagonists as human beings through and through. They have succeeded not just in highlighting the mortal weaknesses of Rāma and Kṛṣṇa but in drawing attention to their inherent greatness.

After he cured all of Guṇākara's wounds, Mṛgāṅkadatta continued on his voyage. One night, he was fast asleep under a tree in Vindhyāṭavi. When he was awakened from his sleep, he found that some stranger was asleep amidst them. When the blanket that covered him was removed and his face was revealed, it turned out to be his own minister Vicitrakatha! As soon as this was known, everyone became alert. He narrated his story in the following words:

Let us proceed to the sixth act of Abhijñānaśākuntala. Duṣyanta has made a painting of Śakuntalā. The vidūṣaka takes one look at it and exclaims: “Madhurāvasthāna-darśanīyo bhāvānupraveśaḥ,” “You have sketched her posture so charmingly that real emotions seem to enter the painting!” (Loose translation.) These words are of supreme significance to aesthetics. Duṣyanta’s brimming love for Śakuntalā has been reflected in the painting and has made it attractive in every aspect.

Dhairyapāramitā - The pinnacle of courage

Long ago lived a brāhmaṇa boy called Mālādhara. One day, he saw a siddha boy flying in the sky and developed an insatiable desire to fly. He fashioned wings out of foliage and tied them upon his person and tried to jump and leap about. Kumārasvāmin who was passing by in the sky noticed the boy’s futile attempts. Out of compassion, the lord took Mālādhara into his order. Thus it follows that true courage pleases even the deities.

Abhijñānaśākuntala is one of the ripest fruits of Kālidāsa’s mature genius. The poet makes a candid confession in the prologue of this play:

आ परितोषाद्विदुषां
न साधु मन्ये प्रयोगविज्ञानम् ।
बलवदपि शिक्षिताना-
मात्मन्यप्रत्ययं चेतः॥ (१.२)     

I cannot be convinced of my skills as a dramatist until discerning spectators are satisfied. Even well-trained people are beset by self-doubt. 

ಭಾರತದ ಪ್ರಾಚೀನತೆಯನ್ನು ಸಾರುವ ಪದ್ಯ ಹೀಗಿದೆ:  

ಯದಾ ಸರ್ವಂ ಮಾತರ್ಭುವನಮಿದಮಾಸೀಚ್ಛಿಶುನಿಭಂ
ವಚೋಹೀನಂ ದೀನಂ ಪಿಹಿತದೃಗಿವಾಜ್ಞಾನತಮಸಾ |
ತದಾ ಗಂಗಾತೀರೇ ಸ್ಫುರಿತವಿಮಲಪ್ರಾತಿಭದೃಶ-
ಶ್ಚತುರ್ವೇದೋದ್ಗಾನಂ ಜನನಿ ನಿಗಿರಂತಿ ಸ್ಮ ಮುನಯಃ || (೨೨)

ತಾಯೇ! ಯಾವಾಗ ಇಡಿಯ ವಿಶ್ವವೇ ಮುಗ್ಧವಾದ ಮಗುವಿನಂತೆ ಮಾತಿಲ್ಲದೆ ಅಜ್ಞಾನದಿಂದ ಕಣ್ಣು ಮುಚ್ಚಿಕೊಂಡಿದ್ದಿತೋ, ಆಗ ದಿವ್ಯದರ್ಶಿಗಳಾದ ಋಷಿ-ಮುನಿಗಳು ಗಂಗೆಯ ತೀರದಲ್ಲಿ ವೇದಗಳನ್ನು ಕಂಡುಕೊಂಡು ಹಾಡುತ್ತಿದ್ದರು!

The Story of the Varāha-jātaka

There lived a boar in a cave in the Vindhya mountains. It was endowed with buddhāṃśa. The boar lived with a monkey in harmony and performed tasks that helped all the animals.