Kalidasa - The Timeless Pinnacle of Poetic Genius

Despite several mysteries surrounding his existence, he is believed to be hailing around 4th to 5th century CE. His native still remains a debatable topic amongst the scholars with a widespread opinion of him belonging to Ujjain. Traditionally, he is believed to be one of the ‘Navratnas’ (ninegems) of the court of the king Vikramaditya of Ujjain. However there are various versions of the scholars related to the timeline of Vikramadtiya and Kalidasa. 

Kalidasa’s Journey from Ignorance to Illumination 

    One of the narratives surrounding the early life of Kalidasa portrayed him as an uneducated and ignorant man who cuts the same branch on which he is seated on the tree. As per a folklore, the ignorant kalidasa was tricked into marrying a learned princess. Upon learning of his ignorance, the learned princess humiliated him and threw him out of the house. Being dejected, Kalidasa underwent the severe austerity and sought the blessings from Kali Mata. The transformation took place and he no longer remained a foolish person. This is how his name ‘Kalidasa’ came into existence, literally meaning ‘Kali ka daas’ Servant [devotee] of ‘Kali mata’ Though he has been recognized as the ardent devotee of Kali mata, there are few scholars who opine that he was a great worshipper of Shiva, Brahma and Vishnu as well, as per the opening invocations observed in his works. 

The Aesthetic Alchemy of Kalidasa 

    One of the key concepts of Indian literature is the aesthetics; narrated by Bharatmuni in his book Natyashashtra. Through this theory, the audience is taken on a joyride of emotions. The audience is made to experience certain emotions like grief, laughter, valor triggered in them  by the performance and scenes in the play depicted by the author. More intense the narration deeper is the experience! In this sense Kalidasa has his expertise in the Shringar Rasa [sentiment of love], Veer Rasa [valor] and Karuna Rasa [compassion] not only these but Kalidasa integrate other sentiments as well to enrich his content and break the monotony of the tone of his writing. Abhijnanansakuntalam is considered as one of the best creations of mankind in aesthetics. Kalidasa has portrayed both Shirngar Rasa and Karuna Rasa in the same sequence while beginning it with the initial attraction in between Dushyant and Shakuntala which subsequently ends in separation and in the end the reunion of both elicits the deep emotions in the audience. Kalidasa is one such poet for whom it is a cake-walk to weave all the sentiments in the one common cloth of a play. For instance, along with his depiction of Shringar Rasa in Abhijnanasakuntalam:

शुद्धान्तदुर्लभमिदं वपुराश्रमवासिनो यदि जनस्य। 

दूरीकृता: खलु गुणैरुद्यानलता वनलताभि:।।  

“If such is the beauty of the maidens residing in the hermitage, rare even in a seraglio, then indeed are the creepers of the garden surpassed by those of the forests in point of excellence.” [Abhijnanasakuntalam1.16]

    He also portrayed Veer Rasa, in Dushyant’s valourous deeds and Karuna Rasa in Shakuntala’s lamentation for Dushyant. Whereas the audience also experiences Hasya Rasa when the Vidushaka [jester] enters the play and when Rishi Durvasa curses Shakuntala, the audience is left with the awe-struck emotion experiencing Raudra Rasa. 

“विचिन्तयन्ती यमनन्यमानसा 

तपोधनं वेत्सि मामुपस्थितम्। 

स्मरिष्यति त्वां न स बोधितोऽपि स-

न्कथां प्रमत्त: प्रथमं कृतामिव।।” 

“That person thinking of whom, with a mind regardless of anything else, you notice not me, a treasure of penance, come here. He will not remember you though reminded by you just as an intoxicated man does not remember the talk made before while drunk.” [Abhijnanasakuntalam 4.1]

    Likewise, the perfect blending of all the sentiments is seen in all his works. 

The Interplay Of Simile And Metaphor In Kalidasa’s Works

    The use of poetic devices in Kalidasa’ works is the epitome of poetic genius. The integration of simile and metaphor in his works elevate his poetic narrative to aesthetic heights. Especially his works, Kumarsambhav and Meghaduta, portray vivid imagery and symbolism to enhance the depth. For instance, Meghdutam depicts ‘a cloud’ as a messenger which carries the message of Yaksha to his wife staying far away; here the cloud is not only a messenger but also a metaphorical embodiment of Yaksha’s longing and inner turmoil. In Kumarsambhav also Kalidasa unifies the natural phenomena and human experience. 

“प्रभामहत्या शिखयेव दीपस्त्रिमार्गयेव त्रिदिवस्य मार्गः।

संस्कारवत्येव गिरा मनीषी तया स पूतश्च विभूषितश्च॥”

“As to how an intensely flaring light embellishes the lamp, tri-coursed River Ganga sanctifies the path to heaven, perfected speech distinguishes a scholar; thus Himavan is both glorified and graced with that girl” [Kumarsambhavam 1.28]

    While showing the beauty of Parvati he compares it with moonlight to showcase the purity and serenity. Such depictions enhance the engagement of audience or readers with the emotional status of the characters eventually, strengthening the bond in between the playwright and audience or readers. Kalidasa’ use of simile and metaphor serves as an integral component that unifies the world outside and the world inside. This integration of poetic devices and human emotions offers the audience and readers a profound experience.  

Wisdom in Verses: Kalidasa’s Philosophical and Cultural Integration

    Indic cultural ethos has always been embedded in all its artistic manifestations like dance, music, drama etc. In this spirit, Kalidasa’ works have an irreplaceable place in the history of Sanskrit literature. They are not only about nature and sentiments but they have much more to offer to its readers and audience. His works speak out loud about the cultural and philosophical aspects of Indian civilization. For example he speaks about the four varnashram of Hindu civilization, in his text Raghuvamsha:

शैशवेऽभ्यस्तविद्यानां यौवने विषयैषिणाम्।

वार्धके मुनिवृत्तीनां योगेनान्ते तनुत्यजाम्॥ 

“About those who in their adolescence are masterly in studies; in adulthood predisposed for material pleasures; in old-age gravitating towards saintlike activities, and at end-time yoking their minds with the Absolute and ultimately evicting their souls from their bodies to attain moksha” [Raghuvamsha 1.8]

    The philosophical content like vidya-avidya, nitya-anitya, jivatma-parmatma etc topics are also woven in a very easy and understandable manner for the common man. This not only depicts him as a responsible playwright but also shows the depth of his knowledge and expertise in various subjects like philosophy and cosmology. For instance, the concept of Dharma which is found in texts like Manusmriti and Dharmshashtras the same concepts are depicted by Kalidas in Raghuvamsham while portraying the code of conduct for a king. [Rajdharma]

अनाकृष्टस्य विषयैर्विद्यानाम् प्रारदृश्वनः।

तस्य धर्मरतेरासीद्वृद्धत्वं जरसा विना॥

“As sensory subjects have not attracted him he is dispassionate; as a knowledgeable person he took delight only in duty; to such a person enhanced his senescent look without actual aging, as if he is an oldster wisdom-wise.” [Raghuvamsha 1.23]

   He also shows the ideal kingship by showing the adherence of Rama to Dharma. In the same text when Rama renounced the throne despite being the rightful heir, Kalidasa has highlighted the Upanishadic concept of nitya and anitya, asakati and anasakti. His works are enriched not only philosophically but also holds the equal weightage of cultural aspects. For example the royal court mentioned in Vikramorvashiyam does not only deal with the political aspects but also paves a way for cultural expressions from its people in the form of music, dance, scholarly debates etc. His descriptions symbolically narrate that the rituals of Sanatan Sanskriti are firmly knitted with the cosmic rhythms. For instance, works like Ritusamharam have the description of each season, festival and ritual making a particular impact on the state of mind of Kings, ascetics and even lovers. This depiction can be compared with the concept of purush and prakriti of Samkhya Philosophy which has the connection of life with nature. 

Women in Kalidasa’s works

    The status of women in Kalidasa’ works is equivalent to vedic seers. His heroines vary in their status, sometimes they are celestial dancers like Urvashi from Vikramorvashiyam, sometimes they are queens like Malvika from Malvikagnimitram whereas sometimes it is about Shakuntala from Abhijnanasakuntalam who is a simple innocent girl brought up in hermitage. These females are sometimes divine and semi-divine but most of the times stronger than today’s women. Vividly they portray the qualities like purity, sacrifice, truth and divinity, by making them do so Kalidasa indirectly propagate the fundamentals of Indian culture and civilization among its readers and audience. Kalidasa’ females are accomplished characters with perfect integration of art, knowledge and culture. For instance, in Raghuvamsha, on the death of his wife Indumati, Aja says,

गृहिणी सचिवः सखी मिथः प्रियशिष्या ललिते कलाविधौ|

करुणाविमुखेन मृत्युना हरता त्वाम् वद किम् न मे हृतम्॥ 

“The mistress of my home, my counsellor, my intimate friend, my beloved pupil in fine arts, tell me what merciless death has not snatched away from me” 

    This shows Indumati was not only an ideal wife but also possessed the apt knowledge in fine arts. His work also gave us the idea about the positioning of the females in society during that time. Back then females were respected and considered revered, for instance, Shakuntala in Abhijnansakuntalam is a simple hermit girl who rises above to the position of a queen. Not only respect but females were also given a liberty to select the life partner for example, in Malvikagnimitram, the female character Parivrajika, is shown as a learned scholar and reputed personality who enjoyed the dignified position in society and also got a chance of Swayamvara. However he also makes its relatable to the common simple women of country or village by making his heroines portray that too, for instance in Meghdutam, he has shown the innocent women unaware about their facial and amazement-expression upon looking at the cloud, few women working in fields are shown exhibiting hopeful expressions for rain and few are expecting the husband to return to them on looking at the clouds. Hence, we can see that Kalidasa has depicted almost each and every role in which we see females today. From dignified queens to maids and helpers Kalidasa has depicted the epitome of each female category. 

The Immortal Kalidasa

    Kalidasa has always been remembered for his metaphorical and figurative narrative. But, his works were rich not only in terms of poetic devices but also literary and culturally upgraded. His works reflect deep philosophical aspects and spiritual values along with aesthetic beauty. It appears that he possessed the knowledge and deeper understanding of human nature and human psychology. One of the chief reasons why Kalidasa is considered as the epitome of a poet is because he connects well with his readers and audience. May it be a Dharmic narrative of Raghuvamsha or may it be an emotional joyride for the audience; may it be the spiritual and aesthetic content of Meghdutam, Kalidasa has always served justice to all the varied domains of human life along with the integration of Bharatiya value system which stands still even today, making him immortal! 

• 13 min read
• 0
• 0