Kalidasa's ConcePt of Dharma
N K. Sundoresworon
facets
has permeatecl all the faces'and
Tlre concept oi Dltarnta
as tts
-ll-ris
irnportant concept lras con-rplexity
all
of lndian tradition.
second nature'
D!'rarmais
Mimamsaka-s proclairn thal
tl-re
content of the veclas'
b'q""' is that rvhich sr-rstains tl-ris universe'
pi:
.lui,, tt''ln-t*e*,i-gf' follow the,vedic
i::
without savrng' are
Vedas in turn proclaim ti"t'ui
Smrtisw'hich
tthihlsas' it goes
;3';il;;'u-ii"t'iattr'ts
isthe
Dltarma' lhe crux of Mahabharata
mainly concernecl vt\th
suggestive
prhrase
ui-*
of
aq: The nrost voluminous book
Dha,rna.
c;n
is exclusively a discourse
Mahabharat;,,i.e, san,t.i1:arr,,.ln
ll runs
oiterr called as Bhtrtatasavilri '
There is a verse tt'ttitti ''
iollows:
q HA +;ri{i?
'rTq-Te
as
iqTi{rq
;q=#-riEr-'ariq ;m'
'trd hFr gta-'{u aic=€
*ri
fti
r
t=r-r =;-'-a t'q-q'
I
1
sake ot
not forsake Dharnta for the
It ordains that or.re should
lt' the sake of one's own dear liie' onea
Artha or Kantit'*uV' """"
otlrer ltihasa' is sirnpl'v
should not fr:rsake I;i:';;'';.'Ran'rSvanathe a nroftal hunran being
q'""'on wl-rether
story given ,' o'-''*JJ'' iit"
rt'hich is an ideal abstract' The
;l;"'
can strictly lead rne parlt t;
*i'n " firre eranrple of Rarna' the
affirmative arrswer
of lndian
'-1"rir"i'"i"t'
Tu'o of the six ortl"rodox svstells
ernboc.linietr t oi Dha-rn-ta'
Veclas' One of
witi'r the it-rterpretation of
Philosoph,v ciirectl,v cleal
the content
yu'uni'i'rnantsS proclaims t'haI Dharma is
trvo,
these
''',
169
of Vedas. The fact thal the topic of Dharma rose to the status of one
anrong tl-re 14 vidySsthanas goes tc exllose the ul-'iquitious nature of
Dlrarttta in lndian laLlilion.
The concept oi Dharna, 'whici.r, in the early Vedic period was a
sin-rple one, graduali)'becanre tnore and more coir-rplex' in tlre early
ages, tlrough idealisecl, iire concept was a sirnple one. ln the Vedic
age, Dharna meant a w'ay of livirrg'whir-h bY ail rneans not only
abstained from disturbing, br-rt also cot'tsciously attuned rvith tlre
undercurr-ent of cosnric r-h-vtlrrn rvl-rich pe!"ireates ancj sustains tiris
whole urriverse. The Rgreaic concept of 'Rla' anci the vedic
statemenrs like ?'iqr Er.rqir -;qa, qiaEl and '.lt n.i ffifi;6q 2re
only dirferent expressions of lhis corrcept. When Mahabh;trata slates
'u-{n-n-g-df+qra?i+or fu1m r.al,
{-clEFq!r--q?t q{ 't$ g,Ia icFril i t'
I
ql
it is only a reflecti,tn of this veciic ctli.rcept.
'llut tctai change in
This sinrple con(ept uncjei'r,n'eni a gracluai
corrrse of tirne. t4ahi"l.;hi'rala il-.eli llroclairrrs elser'r'here lhat
irrscrtrr.able are tlie wa/s of Dharnta rlr1q a;-i flTer {ilqi q?-t?ir
-qq-rli: iF gp.{1: ) Miman^'saka-s promulgated ihat nr:1hing it,lrir:l-r is
i-rot ordaineci in ii'rc vedas couid alti:in the'staiu: crf [)hat'naCradr-rirllv, Dh;trnta llas effeciiveiy used as an instrut.lrerltro establisi'r
a soc.ial order based ort CJlunrarnta. As Dltarnta FOl. a s',rclr.q i:acking
oi lhe \,'edas, it ati:irrect iiuthoi"itatir''e nature'wlricir carrnct be
questioned. Thus ttrere (:itose a voltii'ninous liei-ature ctn Dharnaiistra,
which spoke of various kincls rtf Dh.tnna and ''vhic-ir n'as adanrent in
upkeeping the social orcler l-.ased on Citurvarnlza. Tlrese r.^"orks wlriclt
Lr.rrcr lo ber kno'wn ;t stnrtis, r'r,ere often llronounceC as sirnple
elur.idations rif the corrierrt rti the veclas.
l.ron, ii rvould l-.e rrot oni'r' inierr:sf irrg, ltut also rervarding ttl enqtrii"e
as to hor,v, ancj to ,vhal ertenci, tiris r,orrcepl ,.:i {)harnta has influenced
the greai poel KJlidls;;. ivho i,s .rlterr rr:garried as lhe Natiolr;l poet of
lndia, rvho lrad drunk CeeJ,. at tlrc' s1;rirrg-s oi vedic lore.
K,rliciJsa, rrot or'ri',, porlrays ar.lci idealises bttt even strives lrard
l,tl
is
itr
[ris
to pi.otecttl-re sncial order basecl on Caturvarlya.lle comnrenc.es
keen
were
rn"ho
Raghus
on
er-rolog.v
a
po",, Raghuv;tnla witlr
"p;.
nn ,"i"gu"r.1ing
'varnairanadharnta.' lr-rorder to reveal
liis
king RaghLr's blnding to Dhairta, Ka!idisa starts with describing
poet
great
(Ra;hu;i father's keenness in upholding Dharma'-fhe
dare to
ulrp'iuu.i, tlrat under the king Dilipa's rule, people diC not
Manu'
deviate even to a line's gap - 1'ronr tl-re path laid dolt'n bv
ancl uplrolding
{!ilqrdqfu'
q qiil{
qauorr61
q{r{-q-ql
q-eTi.{1q
(Raghu (i-17)
Not on!y citizens but even Royal queen was very much afraid
of Nlarru's book. The Royal queen, tlrat is Sita, who was ab'andoned
for no iault of lrers, that too, when she was carrying a full growrr
the Roiral
foetus in her nomb (king's ow'n child) setrds a nlessage to
king Rarna' sl're says:
4qf{q-
q"Tiem-fiai qFJ qE
tlq.
..
i q-{ir
srird:
trqilti,rn;iirqrq=E.rql?1 ii'ri1fir-qrqEl'lg{'ffin
(xiv.llre
t
1
I
67)
plair, worr]s can be lucidiy translated as follows:
.'\,Vliat
N4anu has stipulated to the king is safeguardingvarrlairanladharnla,.
Manu hinrself
Tirr,rs, even as I am abarrdoneci like this, according to
lshoulclbeprotectediikear-ryotherascetic.,,sitscouIdnothave
accepts
uttererj these words tauntigl.v lc Rinta. She conrpletely
said
have
not
Llanutlharn'ta. Otherw'ise. sire could
{tanaqcirJff azrq c fltq-fl':T qf iirirq'
(xlv-
62)
(One shouicJ not take tlris acticn of yours on me as unrestraitreci
arrci
,,^. i
lftr i)
the poet's nrirrd
Bcsides, w,e have anotlrer llointer to -show tl-rat
keen watch ot.t
and
close
a
is supportive of king Ran'ta' Let us have
says:
he concluies this particular episcide' He
hor,v
771
iif;a tni
{
l-<-q1+E
qtqrc rrTis{qrt8{otG"r{t;+rl
ur1ffw{qlrlrrTq
That contemplatii,e man,
var,Jirama,lraving contained
tint of doubt oi"repentence.
conviction that his action was
rEi Tsf}ilqq;
trQrr{]-
i
I
w,ho was verv keen ori safeguarding
the grief, ruled the country wirhout a
This shorvs i'row Ra,ra had a firrr
a right one.
Kdlidlsa erhuberrarrtlv and repeaiecil;, describes the rituals that
are orciaiired by irutias w,ell as sntrti. He corrpares suclaksina u,ho
literall,v foiiowed tire fc,otsteps oi Nanc/i,,'with the .,rr.ir, *t i.t-.,
strictly follolv the content of the veclas. Kilictasa rnentionithe irauta
rituals iike Aivantc.clha sacrifices performed by lk:svakus and the
viivajidyaga perfo'med bv Raghu. He fincls pleasure in describing
the numerous sacrificial posts planted on tr-re banks of saray7 to
cjri'e our attention to the rich sacrificial traditiorr of Raghus. He has
incorporated r.nairy irousehold rituals (Srnarta / grhya) pLtmsavana
( i li1 0)
iata karama (l i t/t B) va i va h i kag n is; racra ks i n a (v ilD4) Lij a h orna
(vll/25) apoi'opriately in this epic poem. He has referrecl ta
iracJhha,
a smarta and pauririlla rituai. King Dilipa u,!ro yearns to bege,i a
I
son lanrents:
5 ea w eirl iffi:wt
q g4Tq1l-it ,.{T,u, r<-;fFlz-,.IEfriTil: I i
il_ 66)
(Undoubtedly my ancestrar ma,es, seeing that tlre
contir-ruitv of
Pinda oiierirg is to be broker-r soon, eat onry a linle in sract'hha
ceremony, keeping aside the rerraining as a reserve for tl-re future.)
lncitlcrrtully. it rn.r'be .,riced thaL Ihis pracrir e o[ urferi.g sriclltlt,
to the departed ancestors is a posl veclic ritual.
Before concludinE this r\4ah|kav,y2, u eulogy on the roval
lirreage, the poet describes RJjaclharrna in cletail rircjer the prelexl
of rarratirrg tl-re righteousness of king Atithi. He has set asicie the
whole text of 17th chapter for tiris llurpose. He betrays iris mastery
on lrolity and on the
Raf adharma
enunciated
DharntaiSstt? texts irr verses lil<e
q'
ffi:,ir{ir
traei*n.qFrqi iq{rq
172
I
l.ry,
authors of
qqqi qqrq-{i'flI q-{e'I{TddFndl
I
(xvll-
I
39)
and
q ;ia dr
qT:f fl+{ mFi Er er.s'i{ lqefia5il
a 'riqdqt-qt.r{i .Ifill
A
t
(xvll-
57)
to state thal
lctrc'es him
His staunch clevotion lo llte Raiaclharma
on Dharma' He states
Polit,v (whicl-r is actually cleceitful) is based,
but Dliarma' if it is meant Ior
tl-rat deceivinB enenlv king is nothing
Aivarrredl-ra.
qdiq?qrcw
TEITrlq
irffi,+r'.nq
,rH
ffit
{T aI1
4T
I
{
\Vll
76)
riglltful' if it is rneant.for
This anrounis to say that deceivirrg is
poet puts the sanre fact
the
Aivantedha.lt is irrteresting, to note that
The straiglrt forw'ard
if-," o,fl", na,v rouircl in,c'Lhiiiianalaku.ntala'
direct criticisnr on
and
und ,in,pl* nalured Sarigarava pelts a sl-iarp
words
the deceitful king(Dttsyan la) rvith tl-re
q{ift1ir-"-iraffir|i{a nftrufu
e
rr{
h'er'"+fi!l
I
I
as
(Mav the utterances of those pei''ple w'l-ro learn deceptiorr
a
lt seerns that here' tire
cliscifiine of tirought be takeir iniaiiiable')
devot'ioti tor'vards Raiadharrna'
f,r"t ,, free frcnr tl-re preposterous
Thr-rs,
to haunt
the unconrpasslo nate L)harinaiistra rexrs seem
But we sirouid
the poet as an obselsston in the vr'lr<lle oi-Raghut'anria'
face of wider Dharnta
rrot fail to rrotice tl'rat the'lft?[-trli'--tq'
great,po"-:
The
triic-e
t'r
overpowerit-ig tire poet once
::
S) lTltruttr'
tValmthli:Y",:':
r\laster':
lri:
tr..-,rt thl'.rl.rp,h ,rn ttLter'trr( c pL1 irr
Tl^re utterance i-uns es ir-'llows'
;a4T?rrlrT;xqrzoefo lr"c-liil$
-'tq-ia'FiT q :fu
lF{'riTaril*:{il
ai ffi
-grnrri texts does nol overcome
we can perceive the graceful
the poet's lreart..Arrother scelle r'r'i.rerein
It seetns thai
eler-nents like
the little Dh;trma oi
rlqijiiesl.
ffi
and eq-diiraT of the lustrotts and absolute
l/3
witler Dha,na is seen in the same coiltext. The great poet, a keen
devotee and master of natur"e describes lrow,tlre river canges seemed
to forbid tlre son of Surnitra irom forsaking the worlan (ie Sr'ral with
her raised harrc.ls in the forrl of w,aves.
gifunrrefu qqr;i rrr-;ifr {iq-{rdiztr r€Ef
sarias-rF.,J i+= .
F,:-kri;1 q11drd
a'a:
Non, we shall peerp
(xrv- s1)
into K,narasantbhava. Rajaclhar,a has not
gct rnuclr piace irr that w,r:rk. Kumarasantbhatra .which cjoes not
culrninate inthe Kun'tarasanbhava (the birth oia chilcl) centres rouncl
lhe darakriya of Purari. The poet, usirrg a beautiful blenclage of
suqgestive irjeas and utterances, depicts tire cravings of an
uncontrolled mind towarcls sensual pleasures and the sublimatecJ
cultured rnoods of the contr"olled and cr-rntainecr rnind in a vivicl
nranner in this poem.
rhe pret re'nirds_us r-.rf the golden mediunr of Budrjrra the great
though lris saying aftor-" Siq q{in-,JTrr. Through indiffJ'rent
-trC!*f,r
siateme.ts like i_'
:-l , {T.Tl-t'fi and tei_hnicalities iike
3r.T;r ..rC- Elq;,iqq-s
q tsl-ilqTr qft.ilft
m-qi q;rti;ifuffi:h1qq1 qqcF
qrft{iq
qq Hfdla {iici
i
I
I
(v- 38)
glrrrpse here and tlrere. Tlre poet's conce.rrated attention is i, praising
the sublinrity and magnar,imity, oithe Crhsthadharma. The poer plavs
.,le of a priest in officiaring rhe
ceremonv oi pirvati
'narriage
(the daughter- of moLrntain w,ith a rock
firm rviil) and omrripresent
and evergreen Lord 5iva. In a !.erits of cleveioprnenis rlepicteci in tl-re
poem, tlre poet rerrincis us otvarious illustraticins anci instructions oi'
Crhyaworkslike,Apast.rr,b.r,r'cl .1qrJ/.*.:ira Tliefollo,,vingincidents
nray be taken ior instance.
the
SenCing thesaplar--.r-s along ,*,ith Aruncjhatrto asL for the
in marriage,
d.lrsel
offei-ing ,4rqhva tr,r tire arrivecJ bridegroom. the
panigrahana - Lorcl's captui'ir!. lrorripulate,-1 harrcJ of Umr r.,ith his
hand wet niith srveat - betra,reen puigavaketrr arrd L/rna, the
1-1
circumarnbulation of fire rnacle thrice by tlre first - ever- couple, and
lhe Ldjahoma made by fire-eyed witir hand cup of the bride'
Tl-re poet ulilizes the subtle and gross eientetrts oi Dharna in
tlre celebrated work AbhiifianaiSkuntala. He sets the stage for tl're
streanr of piot,,vith tlre llarrovr' and technical aspects oi Dharna as
prescribed in the Dharmaiastra texis. The wide concepl ot Dharttt.t '
as the one ro,,i-rich sustains the rt lrole universe has too rrrade its impac.i
in the formation and design of the plot.
The pla,v begins lvith lhe entrance of king Dusyanta inlo a
L)harntar;tn1';r. I ire strory of the first four acts ot the piay develops in
the sarrre Dttarnaran.ya.'ilte lastar-t also has its story in aTapasiirana.
l,lere, when ilre lrero errters this Tdpasairama. the Lord ai Airama i.e,
Kaiyapa praispali
is
teaching priyavrata dharrnalo his beloved spouse.
ln AhhilfianaiakLtntala
alrnost ali the characters quole Dharnta
as an ;rr-ttlroiit-v. AnrJ mosi often this
rluotation is macie witir
a self ish
Kirtg, Dttsvanla, w'hen asked abo'ut ltis rrame and naii\'e place
states the half truth tlrat lre lras been deputed to
herrnrr-nrairJs,
the
by
ascetics canre to know of his identit,v,
Wnen
{)h.trrna.
safeguard
,\4adha\/ya prtirrls to Dharma cnly ior their re-entry irrto the herniil'
motive.
He says tlr.rt king can easily claim to have coitre to collect tar.
Priyam',,at1a, .,t,"n u,liile making g-q-qlfljiT fo^r SakuntalS 19 the'
.
king r.tuoLes L)l-rarrra. Sl.re sa,vs ;lrqq'= inqclT{ffi iTq 3rrk-flrr'd'{l
1l
Afterwarcls rvhen Dusyanta fails to recollect
";*o*',r+'.i
his seci"ei rnarriage vtith Sakuntals, Sarigarava asks w'hether
rnrlifierence to [)hanna prorni]t-c lhe kirrg for sur,h a behaviour. When
Sakunt,tla,s caltlurirrg beauty is-revealed by the rernoval of her veil,
q-& When wonranlrood
Pratiharin irLters a statelienl ;Ia t;-qtafifif
in
an c-rutbr-rrsting stalement
itself w.as r-icjii-rrlecl by l)usyanta, Sakuntala
:iTrcqTr
Eqffi{ crqFJ I 6 gqTtr:{;cr
hits at l)u-s7.;rtla Lhus. "rfu
'
'ij-q1::;qn.1--J1tr1: n.\,t:ry:rr]-;r{:l a.d +Iv ,|i;-f=we | lt iwrrrllrrr0liri,.ir't,,i
rll-r,lii.th,' Iiir:] lt'yta-
iune\\ht)det rits
others in thr. clissLris" o;r51ii1q). Tlrus all ,-he characters quole [)harna
irr one LtL)nle\t clr another. Even tl-re fislrerrrian lvl'lo rvas caugirt with
e;z:
the llo,val kirre, rernirrds the policeman of the diction {<rrq i4clq
q.rr;cl- If{l_dll by iris staternerrt.
775
i
eci fu-.4
nfui:ifu q {iFr irffii+ ffiiiqq-t
cfrqn-q-FrigrtqisumfrErrqdtq qri*q,
t
t
when the arrival of ascetics lrom Kanvairal??a v1,,as anrourcecl
to king, he w,as a linle bit anxious ab,ut lt,hat w,ould be tl,re purpose
of their visit. He opens his he;fl to pratiherin. He say,s
ft nitilsiffiq.{r€a,trqr ffi
gfu;6
ai'
tr-qiTn-fi:{q 6{fu1.n qn:ri.rrrarfitaq
n,r.n
r
flrwffifx+r-+r ilq.l.-
i@riq+l
This anguish oi Dusv,tnta does r.tttt n-rerely point to tlre
Dhannaiaslra dictunr {T;T 6f-lrl -t,iJ 'rrq lltrl n ls u C le,rr poirrlt,r lo
the sublirnity of
of rei1acth a rtrr;r w,ir ich permeats
the whole of Kaliddsa literature.
As has alread,,- been statecl, it is w,ortl-rnoting tlrat tlre concept of
Dltarrna revealed in AbhijfrJnasakuntala croes not co,fjr-recl to rhe
lirnitations oi varnairarnadliarma or otl'rer teclrnicalities and that at
tirnes it rises to the unir,,ersal and sublinre revers of wicler ancJ hisher
Dhanrta.
I
I
rr celehrate d h t i n ti m s,t kd ktt n r.ir i l,r
Bha
t tacerl i1 ies KJI ill-i:a's
statenrent - "q-i k {{<ElEg elty 9-cTqq{:f,,{rrlrTn-q:i o, un
authorrty on Dharnta by lris starenrent!:l fu fu_SZt-+At*id cr,r=SEc
'ETEi,lr{Ttrq-{q. rhe fact that eve, a conservative ritualisr iike
Krnirila
1:raises the poet's utterarce w,iti-r all ap;rlause points to tlre
irrrpact rnade by K,lliclasa'-s concepl
of w,ider Dharna in
the
succeedir-rg generations. Also this is a pointer- t<t Kallcla-,a's sLrccess
as a poei - Bul at the same ilne, k-alidisa literature bear-c the irrrprints
of the little and limitecl [)harnta co.cepi of tr'ie 'Varnr(ra,ra'
ancl
lris iervor 1'or its straunclr pr-otection.
Bool<s referred to
AlthijriSnaiikuntala (t,irh Rlghav,a tshatta's Arthadvcttan iki
Corrmentary)
N
i
rnavasae; r press N.lLrmba i I 947.
the.Abhijiilraiakuntalarn cf lelictlsa, Ed. (rvith the cornrlentarv of
Raghava Bhatta) M.iR. Kaie, rvlLBll, Ner,r, Delhi I994.
1,76
NJrSyana
o{ Arttnag'irinJtha and
Raghtt',J/nt.l r\\ i"lr ihe corrintcittrries
Sanskrtl
Cor''t'
tlo';'
RonriVu'.nra San'krir Seiies
Panclira\S'i
1 964'
Coii*gu, TriPPunithura'
Raghuvantiarn, Ed'
Press' Murrrbai
H'D' Velankar' Nirnayasagar
1948'
(witir
rhe
Safiiivani
mentarY cf Mallinatha'
.l
Kumtrrasanh631"1,
-Com
''935'
Xir.nurasagar Press' Mutnbai'
Kurnirasambhava' Ed' Praciyn-rna
Bhavan. \'ar'rnasi'
Mdlavikd,srtintitra,
'"'"'"i;;";i;u*g"
\zidya
Pandeya' Chauklrarnbha
(witir Kundragiriraiiya
Press' Mumbai
1e5o'
t/ I
Commentary)
E
K¡lid¡sa’s concept of Dharma
Dr. N. K. Sundareswaran1
The concept of dharma has permeated the whole fabric of Indian tradition. At the same
time this all important concept has complexity as its second nature. M¢m¡Æsaka-s
proclaim that dharma is the real purport of the Veda-s. Veda-s, in turn, proclaim that
dharma is that which sustains this universe. Sm¤ti-s which claim to unswervingly follow
Vedic path are designated Dharma¿¡stra-s. Itih¡sa-s (Epics), it goes without saying, are
mainly concerned with dharma. The crux of Mah¡abh¡rata is the suggestive phrase ªÉiÉÉä
vɨÉǺiÉiÉÉä VɪÉ& (It is dharma which will ultimately prevail and succeed). The most
voluminous book of Mah¡bh¡rata, viz. á¡ntiparvan, is exclusively a discourse on
dharma. There is a verse in the Mah¡bh¡rata which is often called „bh¡ratas¡vitr¢‟. It
runs as follows:
xÉ VÉÉiÉÖ EòɨÉÉzÉ ¦ÉªÉÉzÉ ±ÉÉä¦ÉÉrù¨ÉÈ iªÉVÉäVVÉÒÊ´ÉiɺªÉÉÊ{É ½äþiÉÉä&*
vɨÉÉæ ÊxÉiªÉ& ºÉÖJÉnÖù&JÉä i´ÉÊxÉiªÉä VÉÒ´ÉÉä ÊxÉiªÉÉä ½äþiÉÖ®úºªÉ i´ÉÊxÉiªÉ&**
It ordains that one should not forsake dharma because of desires or due to fear or greed.
Nay, even for the sake of one's own dear life one should not forsake dharma.
R¡m¡ya¸a, the other ltih¡sa, is simply a story given as answer to the question whether a
mortal human being can strictly lead the path of dharma, which is an ideal abstract. The
affirmative answer is illustrated with the fine example of R¡ma the embodiment of
dharma. Two of the six orthodox systems of Indian philosophy, viz. the two M¢m¡Æs¡s, have the interpretation of dharma as their prime objective. One deals with
prav¤ttidharma while the other one niv¤ttidharma. The fact that the topic of dharma was
reckoned as one of the 14 knowledge systems (vidy¡sth¡na-s) by tradition shows the
ubiquitous nature of this concept in the Indian tradition.
The concept of dharma, which in early Vedic period was a simple one gradually
became more and more complex in nature. In the Vedic age, dharma meant a way of
living which by all means, not only abstained from disturbing, but also consciously
1
Professor, Department of Sanskrit, University of Calicut, Kerala – 673635.
1
attuned with the undercurrent of cosmic rhythm, which permeates and sustains this
whole universe. The Îgvedic concept of Îta and the Vedic statements such as vɨÉÉæ ʴɷɺªÉ
VÉMÉiÉ& |ÉÊiɹ`öÉ
and vɨÉæ ºÉ´ÉÈ |ÉÊiÉι`öiɨÉ are different expressions of this concept. When
Mah¡bh¡rata states „vÉÉ®úhÉÉrù¨ÉÇʨÉiªÉɽÖþvÉǨÉæhÉ Ê´ÉvÉÞiÉÉ& |ÉVÉÉ&* ªÉ& ºªÉÉrùÉ®úhɺÉƪÉÖHò& ºÉ vɨÉÇ <ÊiÉ ÊxÉζSÉiÉ&**’ it
is again a reflection of this concept.
This simple concept underwent a gradual but total change in course of time.
Mah¡bh¡rata states elsewhere that inscrutable are the ways of dharma ( vɨÉǺªÉ iÉk´ÉÆ ÊxÉʽþiÉÆ
MÉÖ½þɪÉÉÆ ¨É½þÉVÉxÉÉä ªÉäxÉ MÉiÉ& ºÉ {ÉxlÉÉ&2 ). M¢m¡Æsaka-s promulgated that nothing which is not
ordained in the Veda-s could attain the status of dharma (SÉÉänùxÉɱÉIÉhÉ%lÉÉæ vɨÉÇ&). Gradually
dharma was effectively used as an instrument to establish a social order based on
c¡turvar¸ya. As dharma got the strong backing of the Veda-s, it attained authoritative
nature which cannot be questioned. Thus there arose a voluminous literature on
Dharma¿¡stra which spoke of various kinds of dharma and which was uncompromising
in the upkeep of social order based on c¡turvar¸ya. This class of literature comprised of
Sm¤ti-s, commentaries on Sm¤ti-s, compendiums and Nibandha-s.
Now it would not only be interesting, but rewarding too, to enquire as to how, and
to what extend, this concept of dharma influenced the great poet K¡lid¡sa, who is often
regarded as the National poet of India3, and as one who had drunk deep at the springs of
Vedic lore.
K¡lid¡sa not only portrays and idealizes but even tries hard to protect the social
order based on c¡turvar¸ya. He commences his epic poem RaghuvaÆ¿a, with a eulogy
on Raghu-s who were extolled as the upholders of var¸¡¿ramadharma. In order to reveal
Raghu‟s binding on dharma, K¡lid¡sa begins with describing his father‟s keenness in
upholding dharma. The great poet applauds that under king Dil¢pa‟s rule, people did not
dare to deviate even to a line‟s width, from the path laid down by Manu.
2
iÉEòÉæ%|ÉÊiɹ`ö& ¸ÉÖiɪÉÉä Ê´ÉʦÉzÉÉ xÉèEòÉä ¨ÉÖÊxɪÉǺªÉ ¨ÉiÉÆ |ɨÉÉhɨÉÂ*
vɨÉǺªÉ iÉk´ÉÆ ÊxÉʽþiÉÆ MÉÖ½þɪÉÉÆ ¨É½þÉVÉxÉÉä ªÉäxÉ MÉiÉ& ºÉ {ÉxlÉÉ& ** (´ÉxÉ{É´ÉÇ 313)
3
“Many centuries after these poets, perhaps a thousand years or even more, came the third great
embodiment of the national consciousness, Kalidasa” said Auribindo, T h e A g e o f
Kalidasa.
2
®äúJÉɨÉÉjɨÉÊ{É IÉÖhhÉÉnùÉ ¨ÉxÉÉä´ÉÇi¨ÉÇxÉ& {É®ú¨ÉÂ*
xÉ ´ªÉiÉÒªÉÖ& |ÉVÉɺiɺªÉ ÊxɪÉxiÉÖxÉæʨɴÉÞkɪÉ&**
(Raghuvam¿a 1.17)
Not only citizens but even the royal queen was afraid of Manu‟s book. The royal
queen, that is S¢t¡, who was abandoned for no fault of hers, that too, when she was
carrying a full-grown fetus in her womb (king‟s own child) sends a message to the king
R¡ma. She says:
xÉÞ{ɺªÉ ´ÉhÉÉǸɨÉ{ÉɱÉxÉÆ ªÉiÉ ºÉ B´É vɨÉÉæ ¨ÉxÉÖxÉÉ |ÉhÉÒiÉ&*
ÊxÉ´ÉÉÇʺÉiÉÉ{ªÉä´É¨Éiɺi´ÉªÉɽÆþ iÉ{Éκ´ÉºÉɨÉÉxªÉ¨É´ÉäIÉhÉÒªÉÉ**
(Raghuvam¿a 14.67)
The plain words can be translated as follows: “What Manu has stipulated to the king is
safeguarding var¸¡¿ramadharma. Thus even as I am abandoned like this, according to
Manu himself, I should be protected like any other ascetic”. S¢t¡ could not have uttered
these words tauntingly to R¡ma. She completely accepts Manudharma and never could
have despised it. Otherwise she could not have said,
Eò±ªÉÉhɤÉÖräù®úlÉ´ÉÉ iÉ´ÉɪÉÆ xÉ EòɨÉSÉÉ®úÉä ¨É滃 ¶ÉRÂóEòxÉÒªÉ&*
(Raghuvam¿a 14.62)
(One should not take this action of yours on me as unrestrained and willful.)
Besides, we have another pointer to show that poet‟s stand is supportive of R¡ma. Let us
have a close observation as to how he concludes this particular episode. He says:
ÊxÉMÉÞÁ ¶ÉÉäEÆò º´ÉªÉ¨Éä´É vÉÒ¨ÉÉxÉ ´ÉhÉÉǸɨÉÉ´ÉäIÉhÉVÉÉMÉ°üEò&*
ºÉ §ÉÉiÉÞºÉÉvÉÉ®úhɦÉÉäMɨÉÞrÆù ®úÉVªÉÆ ®úVÉÉäÊ®úHò¨ÉxÉÉ& ¶É¶ÉɺÉ**
(That contemplative man, who was very keen on safeguarding var¸¡¿ramadharma,
having contained the grief, ruled the country without a tint of doubt or repentance). This
shows that R¡ma had a firm conviction that his action was right.
K¡lid¡sa exuberantly and repeatedly describes the rituals that are ordained
by áruti as well as Sm¤ti. He compares SudakÀi¸¡, who literally follows the footsteps of
3
Nandin¢ with S¤m¤ti-s which are said not to deviate from the purport of the áruti4. He
mentions about the ¿rauta rituals like the a¿vamedhay¡ga-s performed by IkÀ¡ku-s and
the Vi¿vajidy¡ga done by Raghu. He finds pleasure in describing the numerous
sacrificial posts (y£pa-s) planted on the banks of river Saray£ to drive our attention to
the rich sacrificial tradition of Raghu-s.
He has incorporated many household (sm¡rta/g¤hya) rituals such as Pumsuvana
(3.10), J¡takarman (3.18), Vaiv¡hik¡gnipradakÀi¸a (7.24), and L¡jahoma (7.25)
appropriately in this Mah¡k¡vya. He has referred to ¿r¡ddha also. King Dil¢pa, who
yearns to get a son laments:
xÉÚxÉÆ ¨ÉkÉ& {É®Æú ´ÉƶªÉÉ& Ê{Éhb÷Ê´ÉSUäônùnù̶ÉxÉ&*
xÉ |ÉEòɨɦÉÖVÉ& ºÉ´Éæ º´ÉvÉɺÉRÂóOɽþiÉi{É®úÉ&**
(Raghuvam¿a 1.66)
(Undoubtedly my ancestral manes, seeing that the continuity of pi¸·a offering is
to be broken soon, eat only a little in ¿r¡ddha ceremony, keeping aside the remaining as a
reserve for the future.)
Before concluding this Mah¡k¡vya, a eulogy on the royal lineage, the poet
describes R¡jadharma in detail under the pretext of narrating the righteousness of the
king Atithi. He sets asides the whole text of the 17th canto for this purpose. He betrays
his mastery on Polity enunciated by the authors of the Dharmas£tra texts in verses such
as
ºÉ vɨÉǺlɺÉJÉ& ¶É·ÉnùÌlÉ|ÉiªÉÌlÉxÉÉÆ º´ÉªÉ¨ÉÂ*
nùnù¶ÉÇ ºÉƶɪÉSUäôtÉxÉ ´ªÉ´É½þÉ®úÉxÉiÉÎxpùiÉ&**
(Raghuvam¿a 17.39)
and
xÉ vɨÉǨÉlÉÇEòɨÉɦªÉÉÆ ¤É¤ÉÉvÉä xÉ SÉ iÉäxÉ iÉÉè*
xÉÉlÉÈ EòɨÉäxÉ EòɨÉÆ ´ÉÉ ºÉÉä%lÉæxÉ ºÉoù¶ÉκjɹÉÖ**
(Raghuvam¿a 17.57)
iɺªÉÉ& JÉÖ®úxªÉɺÉ{ÉÊ´ÉjÉ{ÉɺÉÖ¨É{ÉÉƺÉÖ±ÉÉxÉÉÆ vÉÖÊ®ú EòÒiÉÇxÉÒªÉÉ *
¨ÉÉMÉÈ ¨ÉxÉÖ¹ªÉä·É®úvɨÉÇ{ÉixÉÒ ¸ÉÖiÉäÊ®ú´ÉÉlÉÈ º¨ÉÞÊiÉ®úx´ÉMÉSUôiÉ **
4
4
His staunch devotion to R¡jadharma makes him state that Statecraft is based on dharma.
He states that deceiving an enemy king is nothing but dharma, if it is meant for
performing a¿vamedhay¡ga.
{É®úÉÊiɺÉxvÉÉxÉ{É®Æú ªÉnù{ªÉºªÉ Ê´ÉSÉäι]õiɨÉÂ*
ÊVÉMÉÒ¹ÉÉ䮷ɨÉävÉÉªÉ vɨÉÇ B´É ¤É¦ÉÚ´É iÉiÉÂ**
(Raghuvam¿a 17.76)
This amounts to say that deceiving is rightful, if it is meant for a¿vamedhay¡ga. It is
interesting to note that the poet puts the same fact the other way round in the
Abhijµ¡na¿¡kunta½a. The straightforward and simple-natured á¡r´garava, pelts a sharp
and direct criticism on the deceitful king (DuÀyanta) with the words
{É®úÉÊiɺÉxvÉÉxɨÉvÉÒªÉiÉä ªÉèÌ´ÉtäÊiÉ iÉä ºÉxiÉÖ ÊEò±ÉÉ{iÉ´ÉÉSÉ&*
(Let the utterances of those who learn deception as discipline of thought be reckoned
infallible). It seems that, there, the poet is devoid of the obsessive devotion towards
R¡jadharma.
Thus the uncompassionate Dharma¿¡stra texts seem to haunt the poet as an
obsession in the whole of Raghuvam¿a. But we should not fail to notice that ¯ûÊnùiÉÉxÉÖºÉÉÊ®úi´É
face of wider dharma overpowering the poet once or twice. The great poet opens his
heart through an utterance expressed as his master‟s (V¡lm¢ki‟s) voice. The statement is:
=iJÉÉiɱÉÉäEòjɪÉEòh]õEäò%Ê{É ºÉiªÉ|ÉÊiÉYÉä%{ªÉÊ´ÉEòilÉxÉä%Ê{É*
i´ÉÉÆ |ÉiªÉEòº¨ÉÉiÉ Eò±ÉÖ¹É|É´ÉÞkÉɴɺiªÉä´É ¨ÉxªÉÖ¦ÉÇ®úiÉÉOÉVÉä ¨Éä**
It seems that the circumscribed dharma of the Sm¤ti texts does not overcome the poet‟s
heart here. Another scene where we can perceive the graceful elements like ºÉ´ÉǦÉÚiÉnùªÉÉ,
¨ÉèjÉÒ , and ºÉ¨Énù̶ÉiÉÉ of the magnificent wider dharma can be seen in the same context. The
great poet, an ardent devotee and lover of nature, describes how the river Ga´g¡ looked,
as if forbidding the son of Sumitr¡ (LakÀma¸a), from forsaking the lady (S¢t¡), with her
raised hands in the form of waves.
MÉÖ®úÉäÌxɪÉÉäMÉÉuùÊxÉiÉÉÆ ´ÉxÉÉxiÉä ºÉÉv´ÉÓ ºÉÖʨÉjÉÉiÉxɪÉÉä ʴɽþɺªÉxÉÂ*
+´ÉɪÉÇiÉä´ÉÉäÎilÉiÉ´ÉÒÊSɽþºiɪÉÉ VɼxÉÉänùÖÇʽþjÉÉ ÎºlÉiɪÉÉ {ÉÖ®úºiÉÉiÉÂ**
5
(Raghuvam¿a 14.51)
Now we shall turn our attention to Kum¡rasambhava. R¡jadharma hasn‟t got
much space in this work. Kum¡rasambhava, which does not end up with the actual
kum¡rasambhava (the birth of a child), centers round the d¡rakriy¡ (marriage) of M¡r¡ri
(áiva). The poet, using a beautiful blend of suggestive ideas and utterances, depicts the
cravings of an uncontrolled mind towards sensual pleasures, and the sublimated cultured
moods of the controlled and contained mind, in a vivid manner in this poem.
The poet reminds us of the „golden medium‟ of Buddha through his statement
¶É®úÒ®ú¨ÉÉtÆ JɱÉÖ vɨÉǺÉÉvÉxɨÉÂ. Though indifferent statements like xÉ vɨÉÇ´ÉÞräù¹ÉÖ ´ÉªÉ& ºÉ¨ÉÒIªÉiÉä and the
technicalities such as
+xÉäxÉ vɨÉÇ& ºÉʴɶÉä¹É¨Ét ¨Éä ÊjÉ´ÉMÉǺÉÉ®ú& |ÉÊiɦÉÉÊiÉ ¦ÉÉʨÉÊxÉ*
i´ÉªÉÉ ¨ÉxÉÉäÊxÉ̴ɹɪÉÉlÉÇEòɨɪÉÉ ªÉnäùEò B´É |ÉÊiÉMÉÞÁ ºÉä´ªÉiÉä** (5.38)
appear here and there, the poet‟s concentrated attention is in praising the sublimity and
magnanimity of g¤hasth¡¿rama. The poet plays the role of an officiating priest in the
marriage ceremony of P¡rvati (the daughter of mountain with rock-firm will) and the
omnipresent and ever green áiva. In a series of developments depicted in the poem, the
poet reminds us of various illustrations and instructions of G¤hyas£tra works such as
those of Ëpastamba and Ë¿val¡yana. The following incidents can be taken for instance:
sending the SaptrÀi-s (along with Arundhat¢) to ask for the damsel in marriage, offering
arghya to the bridegroom, the p¡¸igraha¸a between Pu´gavaketu and Um¡ (Lord áiva
grasping the horripilating hand of Um¡ with his hand wet with sweat), the
circumambulation of the vaiv¡hik¡gni (marital fire) made by the first-ever-couple, and
the l¡jahoma made by the fire-eyed with the hand-cup of the bride.
Coming to the celebrated play Abhijµ¡na¿¡kunta½a, we can see that the poet has
adroitly employed the gross and subtle elements and phases of dharma. He sets the stage
for the development of the plot with the narrow and technical aspects of dharma
prescribed by the Dharma¿¡stra texts. The wider and magnanimous concept of dharma as the one which sustains the whole universe has also made its impact in the formation
and design of the plot.
6
The play begins with the entrance of DuÀyanta into a dharm¡ra¸ya. The story of
the first four acts develops in the same dharm¡ra¸ya. The last act also has its story in a
t¡pas¡¿rama. When the hero enters into this hermitage, the master K¡¿yapa Praj¡pati was
teaching priyamvad¡dharma to his beloved spouse.
It may be very interesting to note that, in the play, almost all the characters cite
dharma as an authority. And most often this is made with a selfish motive. King
DuÀyanta, when asked about his name and native place by the beautiful damsels of the
hermitage, states the half truth that he had been deputed to safeguard dharma.
Afterwards, when ascetics came to know about his identity, the vid£Àaka points to cite
dharma only as a pretext to seek re-entry into the ¡¿rama. He says that king can simply
announce to have gone for collecting tax. Priyamvad¡ cites dharma, even for making a
woo for áakunta½¡. She says, +É{ÉzɺªÉ ʴɹɪɴÉÉʺÉxÉÉä VÉxɺªÉ +ÉÌiɽþ®äúhÉ ®úÉYÉÉ ¦ÉÊ´ÉiÉ´ªÉʨÉiªÉä¹É ´ÉÉä vɨÉÇ& .
She simply says that dharma stipulates that a king should see that all the afflictions of the
citizens are eradicated. She means to say that to alleviate the lovesickness of her friend is
King‟s dharma, bounden duty. Afterwards, when DuÀyanta fails to recollect his secret
marriage with áakunta½¡, á¡r´garava asks whether it was disrespect for dharma which
prompted him to act like that. In the same instance, when áakunta½¡‟s enticing beauty is
revealed when her veil was removed, prat¢h¡r¢ is wonderstruck by DuÀyanta‟s
unswerving adherence for dharma (+½þÉä vɨÉÉÇ´ÉäÊIÉiÉÉ ¦ÉiÉÖÇ&). When the femininity itself was
ridiculed by DuÀyanta, áakunta½¡ in an outburst statement hits at him thus: +xÉɪÉÇ! +Éi¨ÉxÉÉä
¾þnùªÉÉxÉÖ¨ÉÉxÉäxÉ {ɶªÉʺÉ* Eò <nùÉxÉÒ¨ÉxªÉÉä vɨÉÇEò\SÉÖEò|É´ÉäʶÉxÉ& iÉÞhÉSUôzÉEÚò{ÉÉä{ɨɺªÉ iÉ´ÉÉxÉÖEÞòËiÉ |ÉÊiÉ{ÉiºªÉiÉä. It may be
noticed that she addresses DuÀyanta as dharmakaµcukin (one who deceits others in the
guise of a rightful person – dh¡rmika).
Thus every other character cites dharma in one context or the other. Even the
fisherman who was caught with the royal signet ring, reminds the policemen, of the
dictum, º´ÉvɨÉæ ÊxÉvÉxÉÆ ¸ÉäªÉ& {É®úvɨÉÉæ ¦ÉªÉɴɽþ& , with his statement
ºÉ½þVÉÆ ÊEò±É ªÉÊuùÊxÉÎxnùiÉÆ xÉ JɱÉÖ iÉiEò¨ÉÇ Ê´É´ÉVÉÇxÉҪɨÉÂ*
{ɶÉÖ¨ÉÉ®úhÉEò¨ÉÇnùɯûhÉÉä%{ªÉxÉÖEò¨{ÉɨÉÞnÖù®äú´É ¸ÉÉäÊjɪÉ&**.
When the arrival of ascetics from Ka¸v¡¿rama was announced to king, he was a little bit
anxious about the purpose of their visit. He opens his heart to portress. He says:
ËEò iÉÉ´ÉnÂùµÉÊiÉxÉɨÉÖ{ÉÉäføiÉ{ɺÉÉÆ Ê´ÉPxÉèºiÉ{ÉÉä nÚùʹÉiÉÆ
vɨÉÉÇ®úhªÉSÉ®äú¹ÉÖ EäòxÉÊSÉnÖùiÉ |ÉÉÊhɹ´ÉºÉSSÉäι]õiɨÉÂ*
7
+ɽþÉäκ´ÉiÉ |ɺɴÉÉä ¨É¨ÉÉ{ÉSÉÊ®úiÉè̴ɹ]õΨ¦ÉiÉÉä ´ÉÒ¯ûvÉÉʨÉiªÉÉ°üfø¤É½Öþ|ÉiÉEÇò¨É{ÉÊ®úSUäônùÉEÖò±ÉÆ ¨Éä ¨ÉxÉ&**
(Has the penance of those engaged in austerities and devoted to the penance been spoilt
by impediments? Or else anybody has behaved ill towards the beings roaming in the
forest? Or the luxuriance of the plants been arrested by my acts of misfeasance? Thus
indulging in manifold speculation, my mind is agitated by lack of decision.)
This anguish of DuÀyanta does not merely point to the Dharma¿¡stra dictum ®úÉVÉÉ EòɱɺªÉ
EòÉ®úhɨÉ , but a clear pointer too, to the sublimity of |ÉVÉÉ®ú\VÉxÉVÉÉMÉ°üEòiÉÉ of R¡jadharma which
permeates the whole of K¡lid¡sa literature.
As is already stated, it is worth noting that the concept of dharma revealed in the
Abhijµ¡na¿¡kunta½a does not confine to the limitations of var¸¡¿ramadharma or other
technicalities. At times it gets elevated to the universal and sublime levels too, of higher
dharma.
The renowned M¢m¡Æsaka, Kum¡rilabha¶¶a, certifies K¡lid¡sa‟s statement ºÉiÉÉÆ
ʽþ ºÉxnäù½þ{Énäù¹ÉÖ ´ÉºiÉÖ¹ÉÖ |ɨÉÉhɨÉxiÉ&Eò®úhÉ|É´ÉÞkɪÉ& as an authority on dharma by his statement B´ÉÆ Ê½þ
Ê´ÉuùuùnùÉxÉÉnÂù Ê´ÉÊxÉMÉÇiÉÆ |ÉʺÉrù°ü{ÉÆ EòÊ´ÉʦÉÌxÉ°üÊ{ÉiɨÉÂ. The fact that even a conservative ritualist like
Kum¡rilabha¶¶a, praises the poet‟s statement, with all applause, points to the impact
made by K¡lid¡sa‟s concept of wider dharma in the ensuing generations. This, of course,
also is a pointer to the success of K¡lid¡sa as a kavi. However we should remember the
fact that K¡lid¡sa literature bears the imprints of Var¸¡¿ramadharma.
----------
8
Books referred to
Abhijµ¡na¿¡kunta½a (with R¡ghavabha¶¶a‟s Arthadyotanik¡ commentary), Nirnaya
Sagar Press, Mumbai, 1947.
The Abhijµ¡na¿¡kunta½am of K¡lij¡sa, Ed. (with the commentary of R¡ghavabha¶¶a),
MLBD, New Delhi, 1994.
RaghuvaÆ¿a (with the commentaries of Aru¸agirin¡tha and N¡r¡ya¸apa¸·ita), Sree
Rama varma Sanskrit Series, Govt. Sanskrit College, Tripunithura, 1964.
Raghuvaƿam, Ed. H. D. Velankar, Nirnaya Sagar Press, Mumbai, 1948.
Kum¡rasambhava (with Saµj¢van¢ commentary of Mallin¡tha), Nirnaya Sagar Press,
Mumbai, 1935.
Kum¡rasambhava , Ed. Pradyuman Pandeya, Chowkhambha Vidya Bhavan, Varanasi,
1983.
---------
9
Sundareswaran N.K