bIjAkSara’s or the ‘Seed Words’ of Dharma - Lanka Krishna Murti Foundation

bIjAkSara’s or the ‘Seed Words’ of Dharma

[Late Sri Lanka Krishna Murti founded an institution called Sanathana Dharma Samrakshana Samsthe in order to promote the values inherent in the sanathana dharma. He designed a suitable logo for the Institution. The Journal, Dharmaprabha, which was also instituted by him and a few others, served as a mouth-piece for the dissemination of dharmic principles and the same logo was used for the journal also. While explaining the significance of the logo, he highlighted the fundamental principles of dharma in a series of articles, in Dharma Prabha, an English translation of which is presented in the following pages, under the title “bIjAkSharas or the Seed Words of Dharma

1 DAMA

The logo that is found at the top of the front page of every issue of the Journal (Dharmaprabha) is the symbol chosen for the Institute called Sanathana Dharma Samrakshana Samsthe. This logo is developed and designed on the basis of what is contained in one of the sections of the great Upanishad called Brihadaranyaka Upanishad. The logo contains a well-blossomed lotus, over which is placed a heart-shaped image and within that image is the picture of a cloud. In addition to these images, there is the manthric symbol AUM, below which are the letters DA, DA, DA. Further down are the words deva, manava, and asura. Still further down are to be seen the words DAMA, DAANA and DAYA.

According to the Brihadaranyaka Upanishad, Devas (gods), Manavas (human beings) and Asuras (the demons) are the offspring of Prajapati, the Creator. They are also his disciples who once approach him seeking guidance. Prajapati utters the same sound DA by way of giving his message to each of the three groups of his disciples. But the meaning of the Sound Da differs from group to group. In the case of the gods, the sound DA means DAMA; in the case of the humans, it means DAANA; and in the case of the demons, it means DAYA, as explained in the Upanishad. It is also indicated in the text that the Supreme Being conveys the message through the thundering sound of DA, DA, DA, produced by the clouds. These three sounds remind the people of the importance of DAMA, DAANA and DAYA.

The blossomed lotus in the logo stands for human consciousness that is outward bound. If this human consciousness should remain unwithered, undecaying and undistorted, and if it should stand fresh and charming like a well-blossomed lotus, it needs to draw vigor and strength from Dharma. It is keeping this in view that the terms DAMA, DAANA and DAYA, which symbolize the essence of Dharma, are placed above the blossomed lotus.

Within this outward-bound consciousness lies hidden the secret, fundamental principle of Dharma. This hidden consciousness is represented in the logo in the form of a heart. This inner, hidden consciousness is as important as the heart in the human body.

According to a Vedic manthra, the heart remains downward-facing, resembling a lotus. The same image is displayed in the logo. In the inmost recesses of the heart stands the Supreme Being. AUM symbolizes that Supreme Being. That He is deep-bluish in hue and that He showers nectar is suggested by the image of the cloud. And the three sounds DA, DA, and DA, suggesting DAMA, DAANA and DAYA are potent like manthric syllables and are fit to be used for doing japa, the repetitive utterance of sacred sounds. In fact, these sounds, DA, DA and DA get merged in the endless heart-beats. These sounds are the very utterances of the Supreme Consciousness that keeps the heart beating without any interruption.

The differences seen in terms of the divine, the human and the demonic are the consequence of the differences in the samskaras of the individual. They represent the three fundamental tendencies which are called sattva, rajas and thamas, respectively.

The form and substance of Sanathana Dharma, in its entirety, is inherent in the above-mentioned three sounds, DA, DA, DA, which signify DAMA, DAANA, and DAYA. Among the various types of Dharmas, the category of GENERAL DHARMAS, in relation to human beings, is extremely important. Without these General Dharmas, human beings will be deprived of the very humaneness. Without them the SPECIAL DHARMAS have no relevance. The General Dharmas meant for the human beings are enumerated in the following way in the Yagnavalka Smriti:

AhimsA satyamAsteyam zoucamindriya nigrahaH

DAnam dayo damA kSAntiH sarveSam dharma sAdhanaM.

Vighnesvara, in his commentary known as MitAkSara, explains thus:

himsa is causing pain to every living entity. Ahimsa is causing no pain to any form of living entity.

Satya is giving expression to the truth of not harming any living entity.

Asteya is not taking possession of an object without permission.

Zauca, purity, is of two kinds: external and internal.

Indriya nigraha is keeping the organs of perception and organs of action restrained from freely pursuing their objects and allowing them to engage themselves only in the pursuit of desirable objects. It is restraint exercised on the different organs in the body.

dAna is providing succor, according to one’s capacity, in the form of food, water, etc. to any form of living entity.

Dama is exercising control over the inner instruments called antahkaraNas, that is, manas, buddhi, cittaM and ahaMkAraM.

Daya is giving protection to those whose lives are in danger.

kSAnti is keeping the mind unperturbed even when treated unkindly.

These are the instruments for observing Dharma in the case of every being, starting from Brahma to the one placed on the lowest rung on the social scale.

Here is another stanza from the same Yagnavalka Smrti:

Vayo-buddhy-artha- vAg-veSa-srtAbhijana-karmaNAM

Acared sadrzIm vrttiM, ajihmAm-azathAM tathA.

The commentary by Mitaksara goes like this:

Vayas refers to age, like childhood,youth,etc.

Buddhi is intellect that functions in a natural way, conforming to the Vedic path.

Artha means wealth, be it money, house or land.

vAk is the ability to express one’s opinion, using words.

veSa is dress or decorative items like flowers.

Zruta is having heard about the zAstrAs pertaining to the four-fold human objectives, namely, dharma, artha, kAma amd mokSha.

Abhijana means’kula’,one’s social status.

Karma is one’s profession. Everyone is expected to act according to one’s age, ability, status, etc,. An old man, for instance, should perform only such actions that are suited to his condition. He should not act like a youth.

In the same way, one should practice Dharma that is appropriate to his power of intellect, his financial status, his ability to give expression to his thoughts, his education, his occupation and his social status. While doing so, ajihmAm, that is, he should not be crooked or he should not think of deceiving others. azathAM, he should be without jealousy.

The above-mentioned Dharmas and the need to observe them in conformity with one’s own capacity, status, profession, etc. apply to every period of time and to people belonging to every country. This is the essence of Sanathana Ddharma.

The viseSa Dharmas derive their strength and support from the sAmAnya or general Dharmas. Performance of viseSa Dharmas like observance of varNAzrama Dharmas, prayer and worship, rigorous observance of vrtAs, penance, manthra japa, visiting holy places, etc., if they do not derive support and strength from the sAdhAraNa or General Dharmas, get reduced to mere acts of blind faith, pretence and arrogance.

Let us try to find out how all the sAdhAraNa or General Dharmas stated above are embedded in the three sacred sounds DA,DA,DA, which are the seed words or bIjAkSaras of Dharma. The last DA sound DAYA implies Ahimsa, Astheya, and Daya. DANA is embedded in the second DA sound. The remaining qualities of Satya, sucitva, indriya nigraha, dama and ksama are signified by the first DA sound 3

At the end of the previous section, it was stated that we need to understand in detail the concept of General Dharma for human practice as it is embedded in the three short utterances DA, DA, DA. But before doing so, we should ascertain the intention behind the teachings of Dharma which has a wide conceptual application conveyed by the three short syllables.

That the external world is the manifestation in different forms and names of the same energy is well established by modern science. But the scientists have not been able to understand how the energy manifested in the phenomenal world is related to the prANa, manas, and Atma. Prana, mind, etc. are also modifications of some energy, the result of exercising some Will Power. There cannot be any effect without cause. It can therefore be surmised that the modifications noticed in the external world as well as in the inner being are the outcome of the same energy emanating from the exercise of Will Power. This Will Power is called CHIT or CONSCIOUSNESS. For example, the energy that is latent in the all-pervasive water gets expressed in different ways. It is seen manifested in the form of waves that take different forms and designs. We also observe the thrust of energy in the water spreading from one place to all other places. Similarly, the CHIT consists of innumerable modifications, like creation, sustenance and dissolution, following a cause-and-effect relationship. In the external world, certain laws keep Nature in a state of balance and orderly functioning. So also, in the internal world, the CHIT modifications conform to the operation of certain laws or conditions. One such law or condition is that a thought or an idea can remain in a very subtle microcosmic form and when required it can expand into a macrocosmic dimension and vice versa.

This concept that an idea can expand or contract is described in a beautifully poetic form by a great Telugu poet Tikkana Somayaji in an invocatory stanza. He says that Lord Hariharanatha assumes a form that is both macrocosmic and microcosmic. The contracted form is that of Shiva and the expanded form is that of Vishnu.

The same concept is expressed by the Upanishadic statement: “aNoranIyAn mahatomahIyAn,” which means “smaller that the smallest and larger than the largest.” It is scientifically verified that the structure of an atom is similar to the structure of the Solar System.

There is also a similarity between the functioning of CHIT and the functioning of Sanskrit language that is used for thinking and giving expression to thoughts. Therefore, it is possible to reach the ultimate CHIT state through the use of vak or sounds. The CHIT state is described as PARA and the state of VAK is described as VAIKHARI.

{The ancient rishis and the grammarians have asserted that Reality is made up of primordial vibrations. The vibrations are the heartbeat of the cosmos. According to them, the reverberations from the cosmic ‘pulsing’ constitute the alphabet of Sanskrit language. First it was the ‘omkara’ which emanated from the Self-originating Brahman. Then all the sounds emanated from the ‘omkara’ that consists of three sounds A,U and M. it is said in SrimadBhagavatam (12.6.43) that the mighty unborn Lord Brahma created from the ‘omkara’ the different sounds of the total collection of vowels, sibilants, semivowels, and consonants as they are known by their short and long measures. According to the ‘Sphota’ theory, ‘dhwani’(sound) and ‘artha’ (meaning) are two aspects of the same reality. It is said that there are four levels of Vak from the grossest to the subtlest. “VAIKHARI is what we conventionally experience externally. Here things are separate and as independent entities they relate to one another. The audible sound of a manthra when it is verbalized is at the VAIKHARI level. MADHYAMA is the subtle level of cognition where the manthra is in the mind as a thought but not verbalized aloud. The next, more subtle level is PASHYANTI, which is in the subconscious mind where these entities are inter-contained and inter-defined and not really separable at all. This is when the manthra disappears, leaving only a very mild presence but without form. PARA is the ultimate reality, where there are no separate entities and only an ocean of possibilities from which the aforementioned levels arise to manifest difference. The manthra is absent but there is silent but heightened awareness.” (RajivMalhotra,2011, P.419.) traslator’s note}

When we start learning motor driving, we fix our attention on several aspects. In course of time and with regular practice, it becomes a habit. After gaining full confidence, when we drive, though the mind is otherwise preoccupied, driving goes on smoothly, because the practices made earlier and the skills acquired thereof, having gone into a subtle state, pop up and assist in making driving effortless. This is another instance of contraction into a subtle state and expansion of certain practices.

Adi Shankara in his commentary on Prasnopanishad expresses the view that it is due to the benevolence of Goddess Earth that all of us exist in the present manner. Otherwise, we would have been, if light in weight, floating or if heavy, unable to get up and move about. It can be inferred that the earth’s gravitational force is one of the modifications of the Supreme Will Power of CHIT. Though it is possible for one, through the practice of yoga to float.

Thoughts pertaining to Dharma get reduced to subtle forms when they are Beejaksharas. In the subtle state they take on the forms of Devatas.

From the above illustrations, it is possible to infer that thoughts get reduced to short individual sounds which are known as Beejaksharas and they take on a divine aspect. In the context of the Brihadaranyaka Upanishad, the sounds DA,DA,DA heard as thunder from the clouds are the Beejaksharas through which God reminded the people of the importance of Dharma.

Later in the same Upanishad there is the description of the image of a heart. It is to be assumed that the sounds of the Beeejaksharas are also heard from the heartbeats.

The first of the three Beejaksharas, DA,DA,DA, refers to DAMA. Let us first understand what DAMA means. It means control or restraint. We have heard about the story of Bharata, the son of King Dushyanta. When Bharata was very young, he used to catch hold of lions, bend their heads and count the teeth in the mouth. That is why he is known as ‘Simha Damana,’ one who brought lions under his control.

But here in the Brihadaranyaka Upanishad the term DAMA is not used in the sense of ‘bringing someone under control,’ be that a tiger or a lion or an enemy. But it is used in the sense of self-control or, to be precise, bringing under control the senses and the mind which are more dangerous than the wild animals or the external enemies.

In what way are the sense organs and the mind our enemies when they gratify and give us pleasure? How are they dangerous? Anybody can ask questions like these. They are not our enemies as long as we use them moderately for our benefit. But by nature the mind and the sense organs do not get gratified easily.

When we pour ghee into fire, instead of quenching it, the ghee adds to the blazing of fire. In the same way, as we gratify the senses by meeting their desires, instead of feeling satisfied, the senses demand more and more of their gratification. They do not feel satisfied at all. For example, when we start eating some sweets, we are overtaken by the urge to eat more and more. By overeating sweets, many people fall sick. It is the same with those who have developed the habit of betting on horses. When they lose everything, they do not stop betting. On the other hand, they borrow money from others and go on betting. The obsession never leaves them. They are unable to free themselves from the urge.

A majority of those who have suffered heavy losses in life happen to be those who are under the grip of their sense organs. If the enemy is outside, we can be vigilant. The senses, being the enemy within, are more dangerous. It is indeed very difficult to bring them under control.

The happiness we experience through the senses is not permanent. Everyone wants to enjoy the objects of the senses. Being limited in scope and number, there is a lot of competition among people to appropriate them. They go to the extent of fighting for them. The objects too are impermanent. When one is seized of the passion to obtain them, one may go to any extent and adopt any bad means to obtain them. The sorrow that ensues is difficult to bear. In the beginning, these sense objects seem to give great pleasure, but ultimately they bring untold sorrow and suffering, beyond one’s ability to bear. On other hand, self-control or DAMA looks difficult to acquire in the beginning but when once it is gained, it brings immense joy that is permanent. The joy the self-control brings is not dependent on any external objects. There is an ocean of joy within us. Without understanding it, we desperately go after a few drops of joy from outside. Moreover, one who has gained control over his senses gains the friendship of one and all.

It was stated earlier that Prajapati taught the first DA sound signifying DAMA to the devatas, gods. It suggests that the devatas should practice DAMA. Among the human beings, some people bereft of any refinement in temperament and character, or samskara, lead their lives like wild animals. They can be called Rakshasas. To become human, they should first cultivate DAYA, sympathy. Hence the third DA sound DAYA is particularly taught to such people. Acquiring the quality of sympathy and acquiring non-violence, when they get the required refinement, they then deserve to be taught the second DA sound which means DANA. Possessing the two qualities of DAYA and DANA, when people lead their lives cooperating with one another, and with the power of their intellect enjoy all pleasures, such people deserve to be equated with the devatas. And such people receive deservedly the third instruction DAMA coming from the first DA sound. Dharma gets the first boost from the practice of DAMA. Another benefit from the practice of DAMA is that such people, without getting lost in the pursuit of worldly pleasures, find the way to attain Liberation. It is important to stress the fact that without cultivating DAMA, when people enjoy sensuous enjoyments, they become vulnerable to the onset of several dangerous diseases. In such a condition, it is possible that they may even give up the practices of DAYA and DANA. Permanent happiness is possible only when one cultivates DAMA or self-restraint.

So people can evolve themselves to the level of Devatas by cultivating non-violence, mutual respect and love, and unity, and thereby augment the joy from the fulfillment of worldly desires. Even then they have to cultivate DAMA or self-restraint. This is the message conveyed by the first DA sound DAMA.

Is there anyone who has not heard of the great Sanskrit poet Kalidasa? The most famous among his writings is the play Abhijnana Shakuntalam. The poems and plays written by the earlier poets not only stand very impressive by virtue of the excellence in the depiction of rasas (sentiments) like Love and Heroism but also possess certain sanctity on account of conveying some Dharmic message. There are three ways in which the Dharmic message gets articulated and conveyed.

The Vedas prescribe the Do’s and Don’ts of human conduct and behavior and ordain them like the orders passed by a government. Such conveying of Dharmic message is called Prabhu Sammita, injunction coming from a person of authority.
In the case of the Smritis, Puranas and Itihasas, Dharma is conveyed like the advice coming from a friendly well-wisher. Such Dharmic message is called Suhrut Sammita, the appeal of a well-wishing friend.
Poems and plays teach Dharma in the way a loving wife gives advice to her husband. Such Dharmic message is called Kanta Sammita, the advice clothed in tender and sweet, yet persuasive words coming as if from a wife.

In his play Abhijana Shakuntalam, Kalidasa conveys the importance and greatness of the message of DAMA in a soft, pleasing and appealing manner. It is therefore proper and necessary that we examine this play in detail.

When we compare Shakuntalam with many other plays, one specially striking feature we find in it is the absence of the character of a villain. A villain is generally cruel-minded and inflicts pain on virtuous people. The hero conforms to Dharmic practices and ultimately wins over the evil. The villain is defeated. Thus Dharma triumphs over the evil ultimately. This is the common trend we notice in the plotlines either in the form of plays or poems. Such works convey the message called

Raamaadivat vartitavyam/ na tu Raavanaadivat.

“One should follow the example set by a Dharmic person like Rama and such others and thrive in life, but not follow the example set by Ravana and such other evil doers.”

But in the case of Shakuntalam, the message is more inclusive. It is not enough if people lead a happy life, making use of their intelligence, with mutual cooperation and by conforming to Dharmic principles. We sometimes talk of establishing a Welfare State. Even after attaining it, there is something more to be achieved. That is DAMA, conveyed by the first sound of DA, the message conveyed to Devatas by Prajapati. It is this same message that Kalidasa conveys to the world through his play Shakuntalam.

After conveying the messages of DAYA and DANA to the world through several of his earlier works like Raguvamsa, it seems Kalidasa designed his play Shakuntalam in order to convey the message of DAMA in a most extraordinarily artistic manner. For this purpose, he not only made certain changes in the story of Shakuntala which he adopted from the epic poem Mahabharata but also gave a superb artistic design to the play’s architecture. The quality of a great play is characterized by ‘Alochanamrutam’. That is, as we contemplate on the higher reaches of poetic expression, we discover images of beauty which give immense joy. Let us enter the well-sculptured hall of this poetic play and enjoy its beauty and also obtain the nectar-like message offered by DAMA.

The plot-line of the play, abhijJAna zAkuntalam, runs as follows:

There are seven acts in this play. In the First Act, King Dushyanta approaches the Ashram of Kanva, where he happens to see Shakuntala watering the plants along with her sakhis. Shakuntala also sees the King. They get attracted by each other’s looks. They come to know more about each other from the conversation that takes place among the other characters. King Dushyanta had come there hunting. He got separated from the army that had accompanied him. The soldiers come to the environs of the Ashram in search of their King. Their sudden noisy arrival there causes disturbance and fear in an elephant, which, in turn, disturbs the ascetics that are performing thapas. Hearing about this, King Dushteyanta goes to avert any possible calamity that may befall because of the elephant that has run amuck.

In the Second Act, King Dushyanta orders the Commander of his army to stop the hunting operations and asks him to see that the soldiers are to stay away from the ashram. Then Dushyanta confides in the Vidushaka information about the encouraging gestures made by Shakuntala, hinting at her tenderness and affection for him. In the meanwhile, the ascetic followers of Kanva come and, the rAkSasas are bent on causing obstruction the the performance of the yAga. Therefore, you are requested to stay here for some time and position your self in a a chariot, full armed, and give protection to our performance of the yAga.” The King readily gives his consent to do so.

But he receives a message form the Queen Mother asking him to return to the Capital to attenfd the Fasting Ceremony she has undertaken. As he has given his word of consent to the ascetics to give protection to them, Dushyanta asks his Vidushaka to go to the Capital and attend the Festival deputizing for him. Fearing that he would run into trouble if his Queen Wife came to know about the love he has developed for Shakuntala, Dushyanta says to Vidushaka that he has least interest in and love for Shakuntala,assuring him that he has only been joking about it.

In the Third Act, Dushyanta, himself deeply affected by his love for Shakuntala, is found standing behind a tree, unobserved, and observes the love-lorn Shakuntala being attended to by her sakhis. On the advice of the sakhis, Shakuntala drafts a love letter addressed to Dushyanta. When she reads it enters and the sakhis leave the lovers for themselves. Before leaving, the sakhis get an assurance from the King Dushyanta that would ensure prime position for Shakuntala among his queen wives. Then, when they are along, Dushyanta proposed to marry Shakuntala in the Gandharve style and assures her that it is itquite acceptable from the point of view of dharma. He makes his exit when a female ascetic called Gowtami approaches Shakuntala to provide a palliative for her love-fever by administering some water that is sanctified by mantras.

When the Fourth Act opens, we find Shakuntala and Dushyanta are married in the Gandharva style and he has left for his Capital. Shakuntala has become pregnant. She has not received any letter from Dushyanta. She is seen absorbed in her thoughts about Dushyanta, quite oblivious to any happenings around her. Now Sage Durvasa happens to arrive at the Ashram. He is not received with due observances that an important guest deserves. Annoyed and angered by Shakuntala for not showing him due respect, he pronounces a curse on her: “the person you are thinking about would forget you. All efforts to make him remember you would prove futile.” When the sakhis who hear the curse and plead with him not to be so cruel, Durvasa modifies the curse to the effect that if Dushyant is shown any present or gift given by him to Shakuntala, he would remember her. The sakhis do not share this information with anyone in the Ashram, including Shakuntala.

Then Kanva arrives and is very pleased to learn about the Gandharve marriage of Shakuntala and Dushyanta. He prepares to see her off to her husband’s house. He asks Goutamai and two other ascetic disciples to accompany Shakuntala to her husband’s house. The scene that follows is very touching. A sage as he is, he is only a foster-parent. Yet he gets emotional and sentimental when he has to part from her. She is equally moved when she has to bid good-bye to her foster father and to the sakhis and to the animals in the Ashram and even to the plants and creepers that had been tended by her with such great care and affection. 8

When the Fifth Act opens, we find Dushyanta returned to his capital. He is seen listening to a song, from a distance, sung by one of the ladies called Hamsapadika, who is one among the ladies in the harem. He had been once in love with that lady Hamsapadika. He deserted her in preference to the present Queen, Vasumati Devi.

In the meanwhile, Shakuntala arrives there along with the ascetic Gowthami and other ascetic disciples of Kanva. They seek audience from the king in order to inform him that they are going to leave Sakuntala with her husband Dushyanta.

Being under the curse pronounced by Rishi Durvasa, Dushyanta is unable to recognize Shakuntala. He is amused to find a beautiful lady brought by some ascetics. He declares with all humility he does not know her and cannot receive her now that she is in a pregnant sate.

Deeply hurt and angered, when Dushyanta refuses to accept her, though he had promised her to treat her as the most favored wife, she says angrily that it is not proper for him to betray her. When he is not convinced by her words, she tries to give proof of his marriage by showing the marriage ring. She is shocked to find the ring missing on her finger. She had lost it while taking a bath in the chakrateertha. The disciples of Kanva leave her there and go back to the Ashram.

Then the Royal Priest offers to take Shakuntala to his house and wait for her to deliver the child. If the child bears signs of an emperor’s child, then Dushyanta could accept her. Saying so, he leaves that place along with her. After a while he returns to announce that a dazzling brightness in a female shape descended and carried Shakuntala away with her.

After a while, we come to know that a fisherman, when he goes fishing, catches a fish in which when cut open, he finds a ring. It is the same ring that Dushyanta had given to Shakuntala and she had lost while taking a bath. The Royal Policemen bring it to the King. With its sight, the curse gets lifted and Dushyanta recollects his meeting and marriage with Shakuntala.

In the Sixth Act, we see Dushyanta grief-stricken and repenting for having repudiated Shakuntala. As he starts painting a picture of Shakuntala, he receives a message to the effect that a certain sea-merchant, has, while sailing in a ship, drowned in the sea and died. As he is childless, his entire wealth would go to the King’s treasury. Touched by the news, Dushyanta orders his officers to ascertain whether any of the dead merchant’s wives happens to be pregnant. Dushyanta becomes acutely self-conscious of the fact that he is also childless and it is a matter of great sadness for his departed ancestors (pitrs). A certain celestial by name Sanumati observes Dushyanta reduced to a pitiable condition. She goes to convey this news to Shakuntala who is now joined with her celestial mother Menaka in the celestial world.

In the meanwhile Vidushaka’s cry in distress is heard for being taken prisoner by Matali, the charioteer of Indra. Dushyanta is about to wield his arrow aimed at the invisible Matali. Matali makes his presence visible and informs Dushyanta that he is sent by Indra to take him to the celestial world to fight against some Rakshasas. Indra is confident that Dushyanta alone has the competence and ability to fight against the Rakshasas. Accordingly Dushyanta is taken in the chariot to reach the place where he has to fight against the Rakshasas.

When the Seventh Act opens, we find Dushyanta descending to the earth in the chariot that is driven by Matali. Dushyanta is duly honored and felicitated by Indra for having successfully fought against the Rakshasas. The chariot lands on a mountain called Hemakuta belonging to certain types of beings called Kimpurushas. It is a divine region where Kashyapa, the son of Marichi, has chosen to perform his penance. Aditi is his wife. When Dushyanta comes there, he sees a boy by name ‘Sarva Damana’ playing with a baby lion. The boy is able to bring it under his control and count the number of teeth in its mouth. Dushyanta does not know that the boy is his own son. From what the ascetic women say about the boy, Dushyanta is strongly inclined to think that he is the boy’s father. When the amulet tied on the forearm of the boy slips down and falls on the ground, Dushyanta immediately reaches to take it into his hands. There is a charm cast on the amulet that if anyone other than the boy’s parents touches it, it gets transformed into a fierce snake and bites that person to death. It has not happened so to Dushyanta. So it is inferred that he is the boy’s father. Dushyanta is very glad about it.

Then Shakuntala enters the scene. Deeply repentant Dushyanta offers his obeisance to her. Matali takes both of them to Maricha Ashram. They bow down before him and receive blessings from the ascetic couple. Maricha Maharshi explains to them that all the complications have occurred due to the effect of Durvasa’s curse. Now they feel comforted. The Maharshi sends his disciple to Maharshi Kanva to convey the message of the happy re-union of Shakuntala and Dushyanta.

Let us discuss, beginning with the next issue, how the message of DAMA is conveyed through this play by Kalidasa. 9

It is natural for the human mind to always run after the objects of the senses. This is called pravritti. Dama is exercising control over this tendency of the mind. If the tendency to go after sense objects becomes uncontrollable, it is called kaamachaaritva, that is, behaving as one wants to, driven by urge. We observe this to be a natural tendency among the animals. They cannot restrain themselves from doing so. But in the case of the human beings, who have the faculty of discriminating intellect, it is possible to exercise restraint to some extent. To do so would be a benefit for themselves as well as for the society. This quality of exercising restraint is called samskara. This is possible only by practising dama. Some people possess the quality of dama right from their birth. The reason is that they must have practiced dama in their previous lives. If this dama or self-restraint is practiced well, it is possible to bring about a transformation in the natural tendencies and direct the mind towards the Inner Self. This is called nivritti.

There are three levels at which the pravritti or the natural tendency operates. At the lowest level, when the urge to go after the sense objects is uncontrollable, it is called kaamachaaritva level. Higher than this is theate level at which the tendency or pravritti is kept under check. It is controlled pravritti. The highest level is that at which through self-restraint the mind is directed towards the Inner Self. Reaching the top level should be the aim of everyone, which would be good for the person as well as for the society. This alone ensures a state of permanent happiness. These three levels in a person’s behavior from the bottom to the top can be classified as kama, prema and nema. That a human being should elevate himself or herself from the level of kama to prema and then from prema to nema and finally take to the path of nivritti is the best message given by the play Shakuntalam by Kalidasa. This is also the message of dama. It is the message of dama more than the messages of daya and dana that the play conveys, the reason being all the characters have already ascended the preliminary steps of dharma in terms of daya and dana.

When one is under the sway of kama or lust, one acts in a selfish manner. Prema or love is also a powerful urge, but instead of selfishness, there is willingness to sacrifice. Therefore love is of higher order than lust. The tendency to sacrifice is found, to some extent, in the relationships between the husband and the wife and among relatives and friends. Yet people should extend their love and willingness to sacrifice beyond the circle and friends. Thereby they will acquire excellent samskara. An attempt to acquire such samskara needs the support of dama.

Coming to the play Shakuntalam, we have to study how the characters of Shakuntala and Dushyanta are presented at the beginning of the play and observe the contrast that emerges when we compare them with how they are seen at the end of the play. Along with this, we should study the contrast between the description of Kanva’s Ashram in the I Act and the description of Maricha’s Ashram in the last Act of the play. We should also pay attention to how the story develops, how the situations unfold, and how contrasts are made between the conversations and descriptions at the beginning and at the end. From a study like this, we will be able to observe how the three levels of kama, prema and nema operate in the course of the play. Though not explicitly stated, the message of dama is clearly suggested in the play. The story begins on the earth at Kanva’s ashram. By the time the play ends, Shakuntala and Dushyanta are seen in the Heaven. How can we explain this transformation? To what extent can we attribute it to the role played by dama? How do we differentiate Heaven from the Earth? In addition to this, we should pay attention to the artistic devices used by the dramatist in shaping the design and the structure of the play.

It is first by getting rid of the blindness of kama, and then by playing for some time with the dazzling colours of prema, and finally getting established in the divine blaze of nema that Shakuntala and Dushyanta, the heroine and the hero of the play, get united, fully transformed. We should proceed to realize how the noble message implied in this beautiful play is worked out.

Kalidasa has created several situations at the beginning of the play Shakuntalam to indicate the qualities that predominate at the level of kama, which is first among the three levels of kama, prema and nema. Talking to the Nati, the Sutradhara desires that she should sing about the summer season. This is how he himself describes the summer in a song:

“The days are such that, because of the heat, it is pleasing to have a plunge in the waters; it is delightful to enjoy the breezes from the gardens that bring the fragrance of the patala flowers; sleep overtakes easily in the densely-shaded spots; and it becomes cool and comforting as the days draw to an end.”

This description suggests self-forgetfulness caused by the enjoyment of senses. The desire for sensuous enjoyment and the resultant self-forgetfulness are the chief indicators of kama. Taking a plunge, getting into sleep and days passing on into nights suggest forgetfulness and the quality of tamas. The entire story of Abhignaana Shakuntalam is centred round the incident of Dushyanta forgetting Shakuntala. The indication of that forgetfulness is made in this song. The feeling of summer heat is suggestive of the intense desire for self-gratification in kama.

Then the Neta sings a song that further describes the same summer season:

“ Fair young women with a sympathetic heart use the sirisha flowers as their ear-ornaments. These flowers have filaments with tender tips, which are gently kissed by the bees.”

This description suggests that ladies have a fondness for decorating themselves with flowers. Their hearts are as tender as flowers. The most tender among the flowers is the sirisha. The bees hesitate to kiss it profusely. With great affection, ladies, without crumpling it, keep it on their ears as decoration.

When we compare this description of summer with the one given by the Sutradhara, we observe that the Sutradhara’s description is suggestive of the initial state of the male character of Dushyanta, whereas the Nati’s description is suggestive of the initial state in which Shakuntala’s heart is found. The Nati’s description suggests the quality of Love, which stands above the level of kama. Though ladies are prone to be selfish, their tenderness or daya towards the flower suggests the quality of prema.

Listening to the Neta’s song, the Sutradhara forgets the very name of the play he is going to introduce. He gets reminded of it by her. This is suggestive of the later development in the story when Dushyanta gets forgetful, whereas Shakuntala does not.

In this context, the Sutradhara says,

“I was forcibly drawn away by the enrapturing melody of your song, like Dushyanta here by the fleeting deer.”

It means, “Attracted by the melody of your song, O Nati, I forgot the very name of the play, in the same way as Dushyanta, who wants to aim at the fleeting deer, is attracted by it.”

Now let us observe how the character of Dushyanta is presented first at the beginning of the play and the changes that occur by the time we come to the VI Act and finally note the great heights to which his character rises in the last Act of the play. Though as a King, Dushyanta is a stickler to Dharma, he shows a lot of interest in hunting, which is considered to an obsession. Before he comes to the Ashram of Kanva, his harem included several queens and beloveds. In his dealings with them, he was driven more by a relationship of kama than by an attitude of strong Love. He is still childless. These details clearly suggest that Dushyanta is still within the range of kama. As stated earlier, the two conspicuous qualities of kama are: a) inclination towards sensuous enjoyment and b) the illusion or forgetfulness that results from sensuous pleasures. This is a state in which the qualities of rajas and tamas are strongly felt. Let us observe how this gets strongly suggested in the structure and architecture of the play. In the I Act, Dushyanta is seen chasing a deer, aiming his arrow at it, seated in a chariot. Speed is suggestive of the quality of rajas. It includes the quality of tamas that is capable of hiding truth. Look at the following stanza that describes the speed of the chariot in a most naturalistic style: “ On account of the speed of the chariot, that which appeared too small to see, suddenly appears big in magnitude; that which is cut into two appeehicles like busesars as if it were joined; that which is, by nature, crooked, appears to the eyes to be in a straight line; nothing is at a distance from me for a moment nor close to me.” At a time when there were no speeding vehicles like buses, trains, etc., it is surprising that Kalidasa has given us the experience of going in such fast-moving vehicles. While travelling in such speeding vehicles, it is commonly experienced that the object that looks very small from a distance, in no time grows big and passes by. Likewise, objects that are separated from one another look joined. That which looks curved or bent looks in no time to be straightened. Objects that are far away come close to us in a moment and in the next moment leave us behind. This is the way in which Kalidasa describes a speeding chariot.

It is surprising that the description of the speeding chariot very aptly suggests the quality of kama. However small the desired object is, a person driven by the intense desire of kama considers it to be so very great and the very “be all and end all” of his lstife that, without it, it is impossible to survive. Under the influence of kama, unrelated things seem to possess significant connections. Also, one takes things that are unethical or immoral to be righteous. The desired object that goes away in no time suggests that one does not get the feeling of satisfaction. It means that when a desired object is obtained, it does not give satisfaction. On the other hand, the desire gets further intensified. The description of speed is indeed is very illustrative of the quality of kama.ithout

In the I Act, however fast and speedy Dushyanta”s journey in his chariot is, he moves only on the earth, without any elevation. It means that those driven by kama do not register any elevation or ascent. The same Dushyanta in the VII Act goes up seated in Indra’s chariot. As Indra’s host, he shares Indra’s throne. While returning, he describes again his speeding chariot. When we contrast this description with the one in the I Act, for him truth is not discernible from a distance but as one descends truth begins to reveal itself in full view. We shall deal with this point more elaborately later.

In the I Act, we find Dushyanta engaged in the obsessive act of hunting. He aims his arrow at a deer which happens to belong to the Ashram of Kanva. Seeing this, the disciples of Kanva get panic-stricken. They shout at Dshyanta,, asking him to desist from hunting the deer as it belongs to the Ashram and therefore it should not be killed. The message conveyed here is that a person who is under the spell of kama may deviate from righteous action. They further tell him that the weapon he holds in his hand should be used to protect the afflicted or the distressed ones and not strike down an innocent one.

As a king devoted to the practice of dharma, Dushyanta listens to their request and withdraws the arrow. Pleased with this gesture, the ascetics say:

“This is most befitting and worthy of you born in the family of Puru. May you beget a son destined to become an Emperor and be endowed with such virtues as you possess.”

This act of Dushyata very well signifies the quality of humility and the benefit the world gets from the Emperor who is endowed with humility. Indirectly, the quality of dama is highlighted in this passage.

After withdrawing the arrow aimed at the Ashram deer and after giving up his excessive engagement with hunting, Dushyanta enters the precincts of the Ashram. At the same time, he gives up the qualities of tamas and rajas of kama and embraces the qualities of sattva and rajas of prema. When we examine the story in the first four Acts that takes place in the Ashram, it mainly reflects the heights of prema, whereas the heights to which nema is elevated get reflected in the description of Maricha Ashram in the VII Act. Noticing the important differences between the two Ashrams, let us highlight the creativity and the message the poet conveys, before we proceed to enjoy the love story of Shakuntala and Dushyanta.

Kanva’s Ashram is situated in a forest. Men and women, old people, young ones, – all stay there. But everyone follows certain discipline. This is called tapas. No-violence, love of nature, innocence, raising a crop of nivara and some roots and fruits adequate just for body sustenance, wearing a special bark-garment, cleanliness, fire-worship, study of Vedas, performing yagnas, giving up pleasure-seeking, etc. – these constitute taps. These are also the qualities of sattva. Mutual love is pure ad expansive. In the description of Kanva’s Ashram, though no mention of devious qualities is made, references are there to sorrow ad joy which are associated with sattvik prema. So we find the domain and play of prema in the first four Acts.

Let us study the following verse that describes Nature in the vicinity of the Ashram:

“Grains of nivara (wild rice) lying under the trees fallen from the openings of the trunks, in the hollows of which parrots reside; in some places are seen oily stones used to break the nuts of the ingudi tree; the deer having gained confidence, bear the sound like the strange noise made by the chariot and do not change their gait; and the paths leading to the water-spots are marked with lines of water dripping from the ends of the bark-garments.”

There is a pond in the forest. In between huge trees are grains of Neevara, growing here and there. Some birds reside in the hollows of the trunks. The young ones of the birds are fed by the grow-ups with the grains, a few of which are see fallen on the ground. Those who go to take a bath I the pond break the ingudi nuts on the stones and apply the oil crushed from the nuts to their hair. The oily marks are visible on the stones. Because of repeated crushing on the stones, their surfaces have become smooth. Herds of deer, having learnt to live in the company of the Ashram inmates, do not get disturbed by the sounds of passing vehicles, as is the case with the deer staying in the unpopulated forest. As the Ashramites wear bark-clothes, while they return from the lake after taking a bath, water falls dripping from their clothes till they reach the hermitage. The path is marked by the lines of dripping water.

Look at this stanza spoken by Dushyanta in the II Act:

“ Let the bisons plunge themselves into the water of the muddy ponds repeatedly striking it with their horns; let the herd of deer chew the cud collecting themselves into groups in the shade; let the lordly boar fearlessly crush the musta grass in the pools; an let this our bow too enjoy repose with its string slackened.”

The above descriptions indicate the manifestation of prema in Dushyanta. That which is both natural and expansive is the real LOVE. Those who possess such true love look at Nature and all living entities with an attitude of genuine affection. It is not, like KAMA, narrow and selfish. Those who elevate themselves to the level of PREMA show aptitude towards leading a life in conformity with Nature.

The story so far as it pertains to the Ashram of Kanva shines with the glow of PREMA. The infant that was abandoned by the love-less couple Menaka and Kausika was first lovingly nurtured by the birds that are part of Nature. Later the child was adapted and brought up by Kanva, who is a life-long Brahmachari. The child named by him as Shakuntala is as precious to him as his own life. She too shows the same intensity in her love for her foster-father. Her heart is the very embodiment of love. She shows unparalleled love towards the trees, animals and birds. The love that develops between Shakuntala and her sakhis, Anasuya and Priyamvada, surpasses the love between sisters. in the IV Act, the scene in which Shakuntala is sente. to her husband’s house holds mirror to pure love. We shall take up this scene for discussion later.

In the VII Act of the play, the description of Maricha Ashrama reflects the highest level of nema. It proclaims the message of dama. That it stands unparalleled is shown by the following two stanzas. “ Where the yonder saga immovable like trunk of a tree stands facing the sun’s orb, with his body half-buried in an ant-hill, his breast closely covered over with sloughs of serpents, presses hard at the throat by a ring of the tendrils of old creepers, and wearing a mass of matted hair spreading over his shoulders and thickly filled with birds’ nests.”

“Supporting life on mere air in a grove abounding in the desire-yielding trees; the performance of ablutions for religious purposes in waters tawny with pollen of golden lotuses; meditation practiced on the surface of jewel-slabs; and restraint of passion even in the presence of heavenly damsels – thus these sages perform religious austerities in the midst of these objects which other sages desire to attain by practicing penance.”

The two verses quoted at the end of the article in the previous issue contain the description of the tapas performed by the munis or ascetics in the Devaloka. One such muni is found in a standing posture facing the sun. he looks steady and firm like the trunk of a tree. The lower half of his body is cov ered by an ant-hill. His chest is covered by the sloughs of serpents. His throat is surrounded by rings of creepers. Birds have built nests on his matted hair. The matter hair spreads all over his shoulders. Some other munis are found performing tapas by merely taking in and sending out air in a forest area that is rich in wish-fulfilling kalpavriksha trees. Some others are meditating seated on jewel-slabs. They go to the nearby pond that is shining with gold lotuses to take a mere bath as a dharmic ritual and not to indulge in water-sports. Though they are amidst the charming heavenly damsels, they maintain strict discipline, whereas the munis on the earth perform tapas seeking happiness that obtains in the Devaloka. The munis in the Devaloka distance themselves from such pleasures though they are within their reach. They are totally absorbed in their tapas.

Coming to the Ashram of Kanva, the sages perform tapas too. The poet describes it as a place where love predominates. This is appropriate from the point of view of the structure of the play. The love that is described here should attain the supreme aim of nema. It is with this view that the poet has given the contrasting picture of the tapas of the munis in the Devaloka. The play’s structure is clearly shaped to reflect the transcending of kama to prema and then prema to nema.

When kama which is a natural tendency exceeds its limit, it becomes impure. Whereas love, which is also a natural expression like kama, has certain purity. Nema, on the other hand, brings about a total transformation in human nature and elevates man to the level of a god.

Kama is filled with selfishness, whereas love is both selfish and altruistic. But nema is wholly altruistic.

Next we need to examine how kama gets transformed into prema in the love story of Shakuntala and Dushyanta.

Dushyanta, at the beginning, sees Shakuntala not when alone but in the company of her two sakhis, Anasuya and Priyamvada. Dushyanta has come across several beautiful ladies in the harem. But the three Ashram ladies make a strong impact on him with their natural attractive appearance. He responds immediately by saying:

“Oh, how pleasing is the sight of these three!”

“Oh, the charm of the damsels in the hermitage or the Tapovana is not to be seen in the harem. Where do we get the charm and beauty of those creepers that have grown up by themselves naturally in a forest! Not certainly among the creepers however well they are cultivated in a garden.” understood carefully by the younger generation. Nowadays it has become common to trim and prune the creepers in the garden so as to bring about different shapes and patterns. Is there any beauty resulting in such exercises? The garden provides very limited space for the creepers to grow. As such they lack the beauty that obtains in an environment where the creepers grow freely with plenty of flowers. This line of thinking may not be acceptable to some people. But a person of fine aesthetic sensibility like Kalidasa views it differently. Aesthetic temperament or rasikata is a very valuable possession. Not everyone can claim it. There is no rasikata in kama while there is plenty of it I prema. A rasika desires to adore beauty but not enjoy in animal-like fashion. As there is altruism beyond selfish desire in prema, a rasika is a true lover of Nature. He derives great joy by tasting sweet frwho drinkuits. Whereas a kami is one who drinks the liquor artificially made out of fruits. When we come across certain scenes in films in which the hero and the heroine indulge in obscene dancing under the influence of liquor, it points to utter lack of good taste. It looks as if we have forgotten the great saying:”The sentiment of Love is pure and illuminating.” Perhaps this generation is caused to some by extet by the artists of earlier times. There are also some poets who in the earlier times who mixed love with obscene drinking. But the present-day generation has crossed all limits of decency.

Artificial beauty cannot stand comparison with true, natural beauty. There are two aspects to the true and natural beauty. Graceful dress and charming behavior, even without decoration of ornaments, reflect a personality that is captivating. Those who are drawn towards and deceived by the artificially attractive dress and behavior cannot be called rasikas. They should be called mere kamis. Though the ascetic damsels cannot excel the ladies of the harem in respect of attractive dressing, though they equal them in respect of good behavior, their innocence is something the ladies in the harem brought up in artificial decorations cannot boast of. It is this innocence that has captivated the rasika in Dushyanta.

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Kalidasa has sculptured the play in such a way that we clearly notice the transition in the character of Dushyanta from the stage of kama to that of prema by withdrawing him from his obsession with hunting and exposing him to the beauty and purity of Nature at Kanva’s Ashram. We also notice another transformation in Dushyanta as far as his obsession with women is concerned. He is very much attracted by the innocence in the charming appearance of the young girls at the Ashram. He pays particular attention to the physical beauty of Shakutala. He sees her clad in clothes made of bark. He thinks that her beauty looks faded like a flower seen on a tree covered with dry leaves. But in the very next moment the rasika in him comments in the following manner:

“The lotus charms even when it is surrounded by a spread of moss. Even the dark spot enhances the beauty of the moon. The slender-bodied lady is all the more lovely in her bark-dress. What is not an ornament to a person of charming features!”

The eye of a kami does not tolerate any unpleasant thing to be associated with the object of his love. But does not a premi consider even the unpleasant thing associated with the object of his love to be pleasant and agreeable? According to Manu, those who give up yamas and observe only niyamas are sure to face downfall.

A kami is not concerned about the thoughts and feelings in the mind of the person he desires to possess. But a premi’s love includes his concern for the well-being of his beloved. Dushyata asks the two Sakhis:

“Is she to observe the vow of an ascetic until she is given away in marriage or will she forever remain an ascetic?”

Also, Dushyanta gets to know about Shakuntala’s intentions. He makes sure that she is favourably disposed towards him. He ascertains that she is not a Brahmin girl. Though he is fully enamoured by her beauty, he has only prema towards her, not kama. He remains in the Ashram for some time as a protector and waits for a message of love from her.

Born in an atmosphere where kama prevailed, Shakuntala as an infant was mercilessly abandoned in a forest by her parents. Thereafter, her story acquires certain purity and runs in an atmosphere of love. She was tended with love by the birds in the forest. Later, Kanva, though not a family man, adopted her as his daughter lovingly. She develops intense and inordinate love for birds and animals as well as the Sakhis in the Ashram. She regularly watered the plants in the Ashram not only because of her foster-father’s command but also because of her intense sisterly love. She says so. She prepares a particular creeper called Navamallika as a bride to court a tender mango tree. She named the creeper Vanajyotsna. She would confess that if she ever forgot that creeper, it would be as good as forgetting her own self. She realizes that she has developed towards Dushyanta a strong desire that is appropriate for youthful state. She tells herself: ”How is it, indeed, that on seeing this person I am subjected to a feeling not in harmony with a penance grove?” She gets afflicted by the pain caused by the God of Love, Madana, though she does not share this thought with her beloved Sakhis. When her Sakhis, who share with her both joys and sorrows, force her to share her feelings, Shakuntala confesses to her having developed love for Dushyanta. On their advice, she writes a love-letter and reads it aloud. Then Dushyanta, who has been hiding behind a tree, approaches them. On their advice, he gives his consent to marry Shakuntala. But Shakuntala does not want to force him to marry her because he is already married to several wives. Then he makes a declaration of his willingness to marry her. The Sakhis suggest that Dushyanta, who has married several times, should act in such a way that his behavior should not cause any concern to the well-wishers of Shakuntala. He assures that, though he may have several wives, he would give precedence to Shakuntala in furthering the family tradition. In other words, it is the son born to Shakuntala that would become the future king. Then he marries Shakuntala in the Gandharva tradition appropriate to those born in the Kshatriya class.

Let us proceed to examine the Fourth Act of the play, which is a superb piece of artistic creation that has received special attention from one and all. Herein is to be found a theory of love that is conveyed suggestively. The story has reached a stage that marks the transition from the phase of kama to that of prema. The stage of nema comes next. The progression of the phases goes like this: beginning with the phase of kama that is associated with the quality of tamas, we proceed to the phase of prema mixed with kama, characterised chiefly by the quality of rajas. From there we proceed to that phase of expansive love which is characterized by a mixture of rajas and sattva. To obtain the quality of sattva, it is necessary to develop expansiveness of love. Mere intensity of love will not do. Also, it cannot be obtained by mere intensity of nema. Love’s expnsiveness is an indication of Dharma. Without Dharma, Artha and Kama are unobtainable. Without Dharma one is not eligible to achieve the objective of Mokshma. Without the expansiveness in love, the observance of mere restraint leads to one’s downfall.

Yamas and Niyamas are two categories of observances. Yama includes: compassion, tolerance, truth, ahimsa, aastheya (not getting anything without permission), tenderness and worshipping of deities. Niyamas are: purity, observance of silence, fasting, study of scriptures, brahmacharya, and doing service to one’s guru.

One should always be observing the Yamas. Niyamas are not so important. The Yamas mentioned above are possible to be achieved only with love’s altruism and expansivenss. The Asthsngsa Yoga propounded by Maharshi Patanjali starts with Yama and is followed by Niyama, Asana, Pranayama, Pratyahara, Dharana and culminates in Dhyana and Samadhi.

Intensity of love without expansiveness or altruism may produce a state of samadhi. But is it is not a desirable choice. This is suggested by the incident of Durvas a’s curse. Shakuntala who is passionately in love with Dushyanta is completely lost in thinking about him, when Durvasa approaches the Ashram. In a state of absorption and total forgetfulness, she fails to extend due welcome to the guest. As such she gets cursed by him. This incident underscores the imp,ortance of love’s expansiveness or responsible unselfishness. The incidents that are dramatized in the Fourth Act bring into focus the expansiveness of love.

In depicting the expansiveness of love, Kalidasa shows that not only men and women but also animals, birds, plants and creepers have an equal role to play. It is the scene in which Shakuntala is being readied to be sent to her husband’s home. The female ascetics prepare Shakuntala by dressing her up with the available ornaments in the Ashram. Then the ascetic boys bring some decorative ornaments which cause surprise. When asked wherefrom those ornaments are brought, the youngsters reply:

“Reverend Sage Kavnva ordered us to cull flowers from various trees in order to use them for decorating Shakuntala who is leaving the Ashram. So we went to the trees.

available ornaments in the Ashram. Then the ascetic boys bring some decorative ornaments which cause surprise. When asked wherefrom those ornaments are brought, the youngsters reply:

“Reverend Sage Kavnva ordered us to cull flowers from various trees in order to use them for decorating Shakuntala who is leaving the Ashram. So we went to the trees. One tree gave this white garment. Another tree gave some lac. The forest deities in some other trees gave these shining ornaments.”

Sage Kanva has great love for Shakutala, though she is his foster-daughter. He even sheds tears out of his affection for her. This is how he describes the trees in the hermitage:

“This Shakuntala who would never think of drinking water first before you drank it (i.e. before you were watered); who through affection for you would never pluck your sprouts though fond of ornaments; who would feel greatly rejoiced as in a festivity when you, for the first time, put forth your blossoms; this Shakuntala is now going to her husband’s house; may you all permit her!”

Accordingly, the presiding deities of trees and plants, through the Akashavani, convey their greetings and good wishes. Unable to bear separation from Shakuntala, the peacocks stop dancing, the deer keep staring at Shakuntala, unmindful of the dropping of grass pieces from their mouths. Shakuntala shows to her Sakhis a particular creeper which she had lovingly nurtured, and tells them that she would entrust them with the responsibility of tending them further. They ask: You may entrust this creeper to us, but to whom will you entrust us?” and they start wailing. Pointing to a female deer, in advanced stage of pregnancy, roaming about in the Ashram, Shakuntala requests her father to convey to her the joyful news of salfe delivery through messengers. The young one of a deer comes near her and pulls at her garment. It had lost its mother as soon as it was born and Shakuntala had tended it with special attention. This is how Kanva describes the scene:

“It is the little deer here, regarded by you as your son, whom you affectionately nourished with handfuls of Shyamaka grains and to whose mouth, wouned with points of Kusa grass, you applied the soothing oil of the Ingudi. How would she allow you to leave?”

With drowning sorrow Shakuntala departs, leaving behind her father, the Sakhis, the animals, birds, trees and the creepers in the Ashram.

All the creatures, including the humans, act according to their prakriti in terms of the natural tendencies and urges that motivate the creatures to act. But the humans alone have the ability to overcome and transcend the power of prakriti, not the other creatures. As far as the human beings are concerned, passion (kaama) and selfish love are part of their prakriti. On the path towards nivritti or total transformation into realization, the first step is to bring some expansiveness and altruism into their love. This is a very important and difficult thing to do in bringing about transformation towards nema or self-control. Mere restraint in the form of niyamas will not bring about this change. Maturity in love is possible with the power of pravritti alone, not by imposed restraint. Love of beauty, aesthetic experience and artistic sensibility or the experience of rasa are the means to attain maturity in love. The human effort to attain transformation includes the use of mind, actions, goals, all the inherent tendencies, aesthetic temperament and love (prema). All aspects of human personality are to be fully engaged in the sadhana. It is not possible to isolate one from the others in this sadhana. All of them should promote the flowering of the self. This effort and the flowering of the self go on in both states of joy and sorrow. It is not confined to a single life time. In fact it goes on progressing in a succession of life times. So it is through aesthetic sense and artistic sensibility that love reaches a state of maturity and expansiveness and gets strengthened by being subjected to several ordeals. There are several such instances in the V and VI Acts of the play Shakunatalam.

Vasumati is the Queen, Dushyanta, for some time, had deserted her when he fell in love with a lady called Hamsapadika. After some time, deserting her, Dushyanta went back to Vasumati. Hamsapadika felt hurt. In a state of pain and distress, she composed and sang a song:

“Oh Bee, how is it that you, having been longing always for fresh honey and having kissed the mango-blossom, have now forgotten it, being satisfied by a mere lodging in the lotus?”

Dushyanta listens to this song. He understands the sentiment expressed in the song. He sends a suitable reply to her through the Vidushaka. Even then the melody of the song continues to linger in his mind and causes some disturbance.

“When a being, although enjoying happiness, becomes sorrowful on seeing charming objects or hearing sweet sounds, then surely he recollects without being conscious of the thing remembered, the friendships of past life remaining permanently in the form of impressions.”

When a rasika or an aesthete listens to some music that is charming or views a painting that appeals to his mind, sometimes his mind gets disturbed, even though there is nothing to suggest any disturbance. This may be because, at that moment, he must be getting remembrances of bonds of friendship cultivated in the previous lives. For one who is fervently devoted to aesthetic practices, his memory serves to integrate interrupted experiences in his earlier lives.

In all the plays composed by Kalidasa, the heroes happen to have more than one wife. But these wives do not display any jealousy or ill-will towards one another. On the other hand, the poet shows maturity of love in the heroes and goodwill sans any trace of jealousy among the wives. This marks the poet’s lofty outlook. Though forgetfulness is thrust upon Dushyanta due to the curse pronounced by Durvasa, his love for Shakuntala, whom he saw as an inmate in an Ashram and who was extraordinarily charming and at the same very innocent, runs deep at the subconscious level. This is clearly suggested in the lines quoted above.

Kanva, the foster-parent of Shakuntala, while seeing her off for her husband’s house, advises her to behave with love and understanding towards her co-wives.

At the end of the V Act, Shakuntala’s love faces a severe ordeal. When she is spurned by one who has married her and through whom she has become pregnant, she becomes very angry when told that he does not recognize her. It is natural for her to be angry. She calls him a cheat. But she refrains from cursing him. She does not wish any harm to come to him. It is common to find in the stories of the Puranas husband and wife cursing each other when they face situations similar to the one Shakuntalas is now in. In the present day love stories anger drives them to commit murder. The disciples of Kanva advise her to follow Dharma, which says that when a wife, though disowned by her husband, should remain in his house only, even as a servant, but should not return to her parents’ house.

Shakuntala faces a terrible ordeal when she is told by her own husband that he does not know who she is. She starts trying to convince him, in a gentle and persuasive way, by narrating all the incidents that culminated in their marriage. Dushyanta spurns her by saying that women in general use sugar-coated words to serve their purpose. Then she gets angry and calls him a cheat, an uncivilized one. When all her efforts fail, she feels sad that it is her misfortune to be treated like that by her own husband. It is important to note here that however much she is distressed, she does not lose her temper nor does she curse him.

The disciples of Kanva, who had accompanied her, refuse to take her back to the Ashram. Then the King’s Priest, taking pity on the miserable and helpless Shakuntala, offers to take her to his house, hoping that if she gives birth to a child bearing royal signs, the King might accept her. In the meanwhile, Shakuntala’s mother, who stays in the Heaven, comes down to carry her daughter to the Heavenly abode, as if suggesting that those who successfully face an ordeal get the divine help that is needed.

We now move to the next phase in the course of the story where begins an unfolding of an important message relating to dama, self-control. It is important to draw the inference that Durvasa’s curse is intended not to test the intensity of love but its expansiveness. It is in the fire of difficulties and misfortunes that the heart acquires expansiveness. For those who lead virtuous lives, the troubles sent to them by the Divine Agency help to cleanse their hearts. When Dushyanta on seeing the ring is filled with remorse for the wrong done to Shakuntala, his heart gets expansive. This is indicated by an incident that occurs towards the end of the VI Act.

Dushyanta comes to know that a certain merchant by name Dhanamitra has died when the ship he was sailing in sank in the ocean. As the merchant is without any children, all his wealth is to be taken over by the King, according to the opinion expressed by the Minister. In this context, let us see how the King responds to this situation.

Dushyanta is grief-stricken for the wrong he has done to Shakuntala by repudiating her. In this grief-stricken state he is able to empathize with those who are suffering. He extends his love to those who are in a state of suffering. He does not claim to be different from others. He is ready to share suffering with others. He announces that he is there to stand by anyone that is suffering because of losing the dear and near ones, provided their relationships are sinless. He gets a proclamation made to this effect in the whole of his Kingdom:

“Let it be proclaimed that whatever loving relation people may be separated from, Dushyanta will be that very kinsman, with the exception of any sinful relationship.”

Kalidasa is sometimes criticized for having selected and introduced in his plays such heroes who have more than one wife. It is not fair to do so. Kalidasa’s emphasis in his treatment of love is not on love’s intensity but on its expansiveness. In order to highlight this aspect of love, Kalidasa seems to have introduced such heroes. There is another incident in the VI Act which supports this view. An Apsarasa, heavenly damsel, by name Sanumati comes to observe Dushyanta secretly when he is in deep sorrow, experiencing the pangs of separation from Shakuntals. This is the observation made by Saumati:

“Though his heart has been transferred to another, he wishes to be courteous to his first(queen)”

The Doctrine of Love as propounded and propagated by Kalidasa through his plays can be summarized in the following way:

Love should not be in conflict with Dharma.
As Love is related to the heart, the seat of feelings and emotions, every person endowed with heart has a rightful place in Love. Everyone is eligible to share Love equally, irrespective of one’s status or position. (In the play Malavikaagnimitra, the King falls in love with the servant maid Malavika. In Shakuntalam, the King falls in love with a forest-dweller,)
Love forms sattvik Love flourishes on the basis of Form, Docility, Education, Aesthetic temperament and Art.
Love does not differentiate between the humans and divines.
A lover finds Nature saturated with Love.
Kama is mainly based on tamo guna, whereas prema leads from rajas to sattva guna. Kama is characterized by selfishness, whereas in prema there is equality between the Lover and the Beloved. There is mutuality and inter-dependence.
Expansiveness is more important than intensity of Love.
Repudiation does not destroy Love.
Love should become universal and find maturity in yoga and it should become an instrument of attaining moksha or liberation.

Towards the end of the VI Act, when Dushyanta declares that he will stand in place of those near and dear ones whom people have lost, he scores success in the Test of Love. Immediately, to elevate him to the level of yoga, Matali, Indra’s charioteer comes and takes him to Heaven to fight against some demons.

From here, the story moves into the domain of nema.

In the remaining VII Act of the play Shakuntalam, the story runs between the Earth and the Heaven. The message that is conveyed here is that a person who has acquired the competence by virtue of developing universal love should take to the practice of yoga. Yoga is the very quality of nema or self-restraint. restraint. Yoga means turning one’s attention inward and exercising control over the modifications of the mind in order to approach basic Universal Principles. One has to face the strong natural tendencies and win over them, like Desire, Anger, Egotism, Ignorance, etc. Rakshasas or demons are symbolic of such strong natural tendencies. Their enemies are Devatas, who stand for the sattvik quality of Ananda. Indra is the head of the Devatas. Indra is the symbolic presence of Paramatma. Dushyanta stands for Jivatma. In the Yogic path, it is the Jivatma that has to counter and defeat the forces represented by the Rakshasas, not the Paramatma. This is the reason for Indra to seek the assistance of Dushyanta to fight and defeat the Rakshasas. When the Rakshasas are defeated by Dushyanta, he is greatly honored by Indra by making him sit by his side, occupying half his throne. Dushyanta thinks that the strength with which he defeated the Rakshasas is the strength of Indra. To make this point, he gives the example of Surya and Aruna. If Surya does not place Aruna in front of him, how can darkness be dispelled? It is with Surya’s power that Aruna dispels darkness. It becomes clear that Jivatma shines by drawing power from Paramatma and not otherwise. While descending from Heaven in Indra’s chariot, Dushyanta makes a reference to the Seven Winds. This has Yogic connotation.

The chariot lands on a mountain called Hemakuta. Dushyanta enters the Ashram situated there called Maaricha Ashram. Here is a description of the tapas being performed by the sages. It suggests the topmost state to which dama or self-control takes. Those sages are amidst trees that grant every kind of wish. Yet they survive only on the breath they inhale. They are seated on gem-studded slabs, yet their minds are immersed in deep meditation. The ponds are full of gold lotuses. Yet they take bath with water only to purify themselves as an act of Dharma, not for pleasure. They exercise utmost restraint though they are amidst beautiful and tempting Apsara damsels. The pleasures which the sages on the Earth desire to attain by performing tapas are available in plenty, yet the sages are not interested in them. This is indeed the supreme description of tapas.

It is here in the Maricha Ashram that Dushyanta meets his son as well as Shakuntals. This meeting is entirely different from their first meeting in Kanva’s Ashram. Here there is no trace of kama. We find the highest level to which Love is elevated. Sage Maricha blesses the couple and the blessing is indicative of the Dutifulness of Married Life. In the Bharata Vakya, a desire is expressed for the cessation of reincarnations (punarjanmas). This expresses the final human objective of total Liberation. It is in such heightened state of awareness that the play comes to an end.

When we look back at the incidents in the play and the way they are played out, the message is very clear that man can transcend stage by stage from kama to prema and then to nema by drawing strength from the fundamental power of DAMA or self-control.

(The author concludes his commentary on dama, the first of the three beejaksaras: dama, daana and daya. Tr.)

The remaining two sections on Daya and Dana will be serialized in the original Kannada version as published in the Journal Dharma Prabha in this website under the caption Article of the month.