Pla y s &

Poe m s o f
K alid a sa
GROUP 10
A 20th-century artist's impression of
KALIDASA
Kālidāsa composing the Meghadūta

Occupation: Poet, Dramatist

Language: Sanskrit, Prakrit

Period: c. 4th–5th century CE (Gupta

era)

Genre: Sanskrit drama, Classical

literature

Subject: Epic poetry, Puranas

Notable works of Kalidasa
01Shakuntala
02 Meghadūta

03 Raghuvamśa

04 Kumārasambhavam
05 Rtusamhāra
Shakuntala

The work tells of the seduction of

the nymph Shakuntala by King
Dushyanta, his rejection of the girl
and his child, and their subsequent
reunion in heaven.
MEGHADŪTA
Meghadūta is a lyric poem written by
Kālidāsa, considered to be one of the
greatest Sanskrit poets. It describes how a
yakṣa, who had been banished by his master
to a remote region for a year, asked a cloud
to take a message of love to his wife.
 Raghuvamsha
The "Raghuvamsha" is a famous Sanskrit epic poem
composed by the ancient Indian poet Kalidasa. It is
considered one of Kalidasa's most important works
and is often praised for its exquisite use of
language and its poetic portrayal of the dynasty of
Raghu, which includes Lord Rama.
 a s a m b h a v a
Ku m a r
o th e r fa m o u s
m b h a v a " i s a n
m a ra sa t
The "Ku o se d b y th e a n ci e n
c p o e m c o m p
Sanskrit ep i t h e b ir th
. It fo c us e s o n
oe t K a lid a s a s
Indian p t ik e y a , a ls o k n ow n a
f e o f L o rd K a r
and early li n o f Lo r d S hi va a n d
r u g a n , th e s o
Lord Mu rv a t i.
Godd e s s P a
 Ritusamhara
The "Ritusamhara" is a Sanskrit poem composed by
Kalidasa. This poem, often translated as "The Six
Seasons," describes the changing seasons in a
poetic and evocative manner. It is a lyrical work that
vividly portrays the beauty and characteristics of
each of the six seasons in the Indian subcontinent.
The six seasons depicted in the"Ritusamhara" are:

1. Vasanta (Spring): This season is celebrated for its blooming flowers, pleasant
breezes, and the amorous behavior of birds and lovers.
2. Grishma (Summer): The poem describes the sweltering heat, the longing for
coolness, and the use of moonlight as a source of relief during hot summer nights.
3. Varsha (Monsoon): Varsha brings rain and rejuvenation to the earth, along with
the thunder, lightning, and the overflowing rivers. It's also a season of romance
and longing.
4. Sharad (Autumn): This season is marked by clear skies, a gentle breeze, and the
ripening of fruits. It's often associated with festive celebrations.
5. Hemanta (Pre-winter): Hemanta is characterized by dew, mild cold, and the
fading of the autumnal beauty, leading to the approach of winter.
6. Shishira (Winter): Shishira represents the chilly winter with its frosty mornings,
dense fogs, and the suffering of the poor and the elderly due to the cold.
Plays
 ABHIJNANA
SAKUNTALAM
"THE RECOGNITION OF SHAKANTULA"
-Is a sanskrit play by the ancient Indian
poet Kalidasa, dramatizzing the story of
Sakuntala told in the epic Mahabharata
and regarded as best of kalidasa's work.
Act I, or The Chase (Scene: The Forest and then Hermitage):

Dushyanta, the king of Hasthinapura, tries to capture a deer but is

stopped by a hermit who warns him about the protection of the
hermitage. The hermit blesses the king with a boon to have a noble son
and invites him to visit the hermitage of Kanva. Dushyanta, knowing the
importance of modesty, hides behind a tree and observes the beauty of
the hermit girls. Sakuntala, Priyamvada, and Anasuya converse, and
Dushyanta saves her from a thief. Sakuntala initially runs away, but
Dushyanta reveals his true identity and is invited to the hermitage.
Sakuntala falls in love with the king, and Dushyanta gives him a ring as a
token. The King leaves the serene hermitage as soldiers' approach.
Act – II or Concealment of the telling (Scene: The Forest):

Madhavya, a court-jester and companion to Dushyanta, complains

about his ill-fate of wandering the forest and eating on everything
instead of rejoicing in the palace. Dushyanta consoles him and they
conspire to get Dushyanta closer to Sakuntala. Dushyanta is
reminded of his mother's fast and oath. At a crossroads, unable to
decide whether to fulfill the oath or continue with his heart's
renderings, Dushyanta sends Madhavya to the King's palace.
Act – III or Love’s fruition (Scene: The hermitage of Kanva):

The king returns to the hermitage to see Sakuntala and her friends,
who engage in flirtatious conversations. Dushyanta, unable to
subdue his heart's cravings, joins them, leaving Priyamvada and
Anasuya in solitary independence. As their hearts dwindle with
flirtatious conversations, Gautami calls for Sakuntala from a
distance. The pair separates with regret, and Sakuntala leaves with
Gautami, while Dushyanta helps the ascetics complete evening
prayers.
Act – IV or Sakuntala’s departure (Scene: The hermitage of Kanva):

In Abhijnanasakuntalam, Anasuya and Priyamvada discuss Dushyanta and

Sakuntala's marriage and the king's return to his capital. They hear a voice
announcing himself at the hermitage, and Sakuntala, who is always thinking of
Dushyanta, rushes back to check if she has received the guest. Durvasa, a powerful
figure, offers consolation by restoring Sakuntala's memories with a king's token.
Sakuntala prepares to leave the Royal Palace to restore her husband's memory and
inform him of her pregnancy. Gautami, Anasuya, and Priyamvada help her, while
Kanva enters with grief. Gautami, Saradvata, and Sarngarava ensure Sakuntala
reaches the Palace safely and the reunion goes smoothly. The act in
Abhijnanasakuntalam contains unexpected events, including the announcement of
the marriage, the curse, and acceptance of the marriage by Kanva and Gautami.
 Act –
V or Th
e Repu
The diati
King on of
i s Saku
listen b u rd ntala
s to ened (Sce
negle a song by h ne: T
cted. by he is du he Pa
herm Dush r wif ties lace
its fro yanta e Ha a nd w ):
Gaut m the , fee msav eary,
ami r Kanva ling ati, s and
e a u g g e M a dhav
Saku m in d h e rm ye a rn st in g y
ntala the k itage ing i s he a
unde , bu ing o to t n his is be
rstan t he fas he p he ing
ding c ecret a lace. a rt, in
Dush the c a nnot marri Sarng vites
yanta u r re age arava
sugg accuse s e , trie m e mber betw and
ests s th s to pr a e e n
facili e xami e h e o d u n yt hi him and
ties i ning rm its an ce a n g. S
Hear n the the d Sa ring akun
tbrok palac story kunta b ut it tala,
e n e u . D u la , b d o es
Dush , S akunta n til the ch sh y a u t th n 't fit.
yanta n ta ag e high
bewi la asks i ld is bo re pries
ldere the e rn to e s t t
d. arth dete o p rovid
to ta rmine e
ke he the t
r aw ruth.
ay, le
aving
 Act – VI or Separation from Sakuntala (Scene: Capital of Dushyanta & The
Pleasure Gardens):

In this story, the king Dushyanta is enraged by the discovery of a royal signet ring in the
possession of a fisherman. The fisherman is given leave and compensation, but
Dushyanta feels guilty for his treatment of Sakuntala. Misrakesi, an apsara, checks the
palace and finds the king in a miserable state, relating the same predicament to
Sakuntala. Dushyanta expresses his grief to Madhavya and the court-jester, while
Chaturika brings a portrait of Sakuntala, intensifying his loneliness. As Queen Vasumati
is expected to visit, Dushyanta hands over the painting to him and asks to flee. An
attendant informs Dushyanta that the Queen has returned a note about a wealthy
merchant who died in a shipwreck and left all his property unclaimed. The King decides
to share the property with his family and loved ones, as it is fair to do justice to
everyone. As he laments his decision, he hears cries of anguish and finds Madhavya
taken by a demon. He chases the demon, only to find Matali, who apprehended
Madhavya to distract the King from his misery.
Act – VII or Sakuntala’s prosperity (Scene: Celestial regions & Hermitage of Maricha):

Dushyanta, along with other Heaven warriors, defeats demons and returns with
Matali. They visit the hermitage of Maricha, where they encounter a young boy
playing with a lion cube. The King is drawn to the boy and pampers him,
surprising ascetics. Dushyanta finds the missing armlet, which is charmed by
Maricha during the child's natal rites. The ascetics recognize the boy as
Dushyanta, and the King is confident in the boy's identity. Sakuntala is also in
the hermitage. The King's memory is restored after a signet ring was found by a
fisherman. Maricha blesses the couple and their family, which includes a father
equal to Indra, a mother born of an Apsara, and a son capable of causing
demons to run. The play Abhijnanasakuntalam ends with a blissful reunion and
the family returns to Dushyanta's palace.
Thank
you