Sakuntala India Essay Example for Free

Sakuntala India EssayKalidasas Sakuntala is the best-k right offn Sanskrit drama, and widely considered a masterpiece. It is based on an episode from the Mahabharata (book 1, ch. 62-69), though Kalidasa takes signifi pilet liberties in his version. Widely translated there were no fewer than forty-six translations in twelve dissimilar languages in the century after Sir William Jones groundbreaking first translation (1789) alone, Dorothy Matilda Figueira notes in Translating the Orient new editions stay on to appear regularly. Barbara Stoler Millers, published along with translations of Kalidasas two other dramas (and three explanatory essays) as Theater of Memory, appears to stimulate become a standard version, and certainly the classroom text of choice (at least in the US) it also has the advantage of being relatively easy to find (which is not the case with most of the other translations). The fourscore pages of essays, covering three antithetic aspects of Kalidasa and S anskrit drama, and the solid critical apparatus (though the actual notes ar a bend thin), as well the fact that it makes the other two Kalidasa tenders easily available, does make this an appealing edition. It is not, however, ideal. Millers translation is solid, with a few inspired touches, but it does not stand out among the competition. In addition, to a greater extent reinforcement material, and more than than extensive notes focussed specificall(a)y on the play would have been welcome.Sakuntala is a play in sevener acts. It begins with a remarkable Prologue, in which the director of the play briefly discusses the planned nights entertainment with the lead actress. Hes dysphoric about impressing his learned audience, and tells herI find no performance perfectuntil the critics are pleasedthe give away trained we arethe more we doubt ourselves.(Critics with its newspaper-reviewer connotations is an unfortunate choice here Kalidasa clearly only way hes worried about the opinion of this generally well-informed audience.) The actress manages to reassure him with a brief song she is so utterly convincing and enrapturing that he forgets what play he wanted to put on (after just havingmentioned it moments before). Its a hard scene to pull of on the stage, but on the page it puke convince, and its a stun start to the play (and also sets the bar very high). The play proper then begins, with King Dusyanta on a hunting expedition. Hes going after an antelope, but a monk stops him, telling him the antelope belongs to the local anaesthetic hermitage Your weaponshould rescue victims, not destroy the innocent The king does as he is asked. Invited to the hermitage he looks almost the grove, and comes across Sakuntala and two friends but he hides before they see him. Sakuntala is the daughter of the head quick of scent, Kanva (who is away at the time), or so the king has been told. In fact, she is only the adopted daughter, and is actually the daughter of a kingly sage and a celestial nymph (which is important, as the it wouldnt be appropriate for the king to be involve with a commoner). Sakuntala is coming into her own, and one of the first things the king sees is Sakuntala asking one of her friends to loosen the no perennial quite form-fitting bark dress she is wearing. As the friend says Blame your youth for swelling your breasts.(Ryder translates this oft more successfully You had better blame your own budding charms for that.) The king finally shows himself, but hes uncertain whether to violate his true identity and pretends to be someone else. He finds out that Sakuntala would be an appropriate mate, but theres understood a bit of romancing to do. He does, however, give her the ring of the call an embellishment of Kalidasas that isnt found in the reliable source-material, but that will allow the king to come of looking better than he originally did. The morsel act begins with a Shakespearean buffoons monologue the c haracter of the fool transposed to India. The king is by direct completely smitten. As the buffoon notes She must be delectable if youre so enticed.The king is indeed change with enthusiasm but by the end of the act realises that the buffoon may let something about his fretfulness slip back home at the palace, which might not go over so well, and so he tells him I really feel no desire for the young ascetic Sakuntala.What do I share with a rustic girlreared among fawns, unskilled in jockey ?Dont mistake what I mutteredin jest for the real truth, my friend The audience knows better, and in the third act their true feelings cant be hidden any(prenominal) longer though both the king and Sakuntala suffer for their passion before they can embrace each other SAKUNTALAI dont knowyour heart,but day and nightfor wanting you,love violentlytorturesmy limbs,cruel man.KINGLove torments you, slender girl,but he completely consumes me daylight spares the sacred lotus pondwhile it destroys the moon.The king wants to marry Sakuntala, but she is worried that the proposed rushed and secret marriage wouldnt be appropriate. Fulfillment of desire is fraught with obstacles, the king sighs. Sakuntala gives in but only off stage, in amidst scenes. When the fourth act opens the king has returned home, promising to send for Sakuntala later. Still enraptured, Sakuntala neglects her duties and is cursed by the angry sage Durvasas the king wont remember who she is at least until he sees the ring of recollection. (In the original version of the level in the Mahabharata there is no curse or ring the king is simply a frump he remembers her well sufficient, but pretends not to.) But Sakuntala is sp swept away she doesnt even realise whats happened. more of the fourth act is filled with the sweet sorrow of parting, as Sakuntala prepares toleave the idyllic grove and the hermitage. Its all the more poignant because she is not aware of the terrible fate shes facing (while the audien ce knows exactly whats coming). In act five Sakuntala arrives at the kings court and doesnt get quite the welcome she expected. It should all be easy enough to clear up, even Sakuntala realises this ring will revive your memory and remove your doubt. But, alas theres no ring on her finger It must have fallen off .. Sakuntala has other evidence, describing their meetings, but that isnt enough to convince the cursed king, and he continues to worry Since its unclear whether Im deludedor she is speaking falsely should I gamble abandoning a wifeor being tainted by another mans ?Act six begins with more comic relief, as a fisherman is interrogated by the police about a ring he found the missing royal ring of recollection, of course. Now, finally, the king remembers. and he sets off to regain her. Sakuntala has by now given birth to a child, a boy who looks a great deal like the king (and who should so the kings previse to Sakuntala long ago be his successor). But the king can bar ely believe that there is any hope left for him learning the boys mothers name is Sakuntala he moans But names can be the same. point a name is a mirage a false hope to herald despair. But, finally, there is the happy reunion and ending.Much of the power of the play is as a character study of Sakuntala, as Kalidasa shows her in these different circumstances. Her love, her despair, her anger are all impressively displayed. Much of this and, indeed, the success of much of the rest of the play depends on the poetry of the play, and while there are some very successful bits, Millers translation does fall short. Sanskrit is a problematical language to translate in any case. The nominal involveds (similar to the German, except that they can be much more elaborate) pose a particular problem, and the Sanskrit verses with their own complex rules are also very difficult to convey.Miller knows her stuff, and the substance of the play is well-conveyed. But much goesmissing especially th at wiz of poetry. Some of the problems can be guessed at from the explanation she offers of the plays title in the notes (one of the few terms she explains at greater length) Sakuntala and the ingroup of Recollection This is not a literal rendering of the Sanskrit compound Abhijnanasakuntala, whose exact form and meaning are controversial even among Sanskrit critics and commentators. The parole abhijnana means recognition or recollection it is used in the play to refer to the ring Dusyanta gives as a token to Sakuntala () A more exact translation of the title might be The drama of Sakuntala remembered through the ring of recollection, where the entire compound refers to the implied word nataka (drama),and a word like smrta (remembered) may be supplied according to a rule of Sanskrit grammar governing elision in compound verbs. Unfortunately, there are probably few words (and verses) in the text that dont warrant as much or more explanation.Miller goes for the grounded, straightf orward approach, not rhyming the verses, for example (Ryder, on the other hand, imposes a rhyme on all the verses). Enough of the original comes through to get a decent sense of the plays qualities, but it rarely reaches the transcendent heights the original is reputed to have. A useful edition, with some decent supporting material (though more would have been welcome), it nevertheless isnt entirely satisfying. Return to top of the page