Chapter 1 — Abhijnanashakuntalam

May Shiva, endowed with those eight manifest forms (Ashtamurti), protect you all— He whose (water-form manifestation) was the first creation of the creator (Brahma). He whose (fiery manifestation) carries the oblation (offered into the sacred fire) properly consecrated in the sacrifice (to the gods), and who is Himself the performer of the sacrifice (that is, the manifestation in the form of the sacrificer); He whose two manifestations (the forms of the Sun and the Moon) regulate (create) time (day and night); He who, possessing the quality of sound (the object perceived by the sense of hearing, i.e., the ears), pervades the universe in the form of ether (the space-form manifestation); He whose manifestation as the Earth (earth-form manifestation) is said by the wise to be the source of all seeds; and He by whose manifestation as Air (air-form manifestation) living beings remain alive (endowed with life-breath).

(At the conclusion of the Nandi recitation) Stage Manager (looking toward the backstage)— Lady, if the backstage preparations (such as the actors putting on their costumes and related arrangements) have been completed, then come here. Actress (entering)— Noble sir, here I am (present before you). Stage Manager— Madam, this assembly is filled with highly learned people (scholars). Today we must present the new drama named Abhijnanashakuntalam, whose story has been composed by Kalidasa. Therefore, effort should be made regarding every character (in the play); that is, special attention must be given to the performance of each role. Actress— Because of your well-arranged direction and acting, there will be no deficiency. Stage Manager— Lady, I tell you the truth (honestly). Until the learned scholars are satisfied (that is, until the scholars become fully pleased), I do not consider my acting skill to be proper (successful), (because) even the minds of highly educated people remain doubtful of themselves (uncertain and lacking complete confidence). (That is, they are never entirely assured about their own knowledge.)

Actress— Noble sir, it is indeed so (that is, what you have said is correct). Now please give instructions regarding the next duty to be performed. Stage Manager— What else is there to do except to delight the ears (hearing) of the members (of this assembly)? Therefore, sing about this summer season (itself), which has now begun and become fit to be enjoyed (through bathing and similar pleasures). For at this time, pleasant (agreeable) indeed is bathing in water; pleasant are the forest breezes made fragrant by contact with roses (patala flowers); pleasant is the easy sleep that comes in dense (thick) shade; and thus the evenings of these (summer) days become delightful (charming).

Actress— (I shall do) as you say (exactly so). (She sings) Young women (beautiful maidens), with tenderness and grace, are adorning their ears with Shirisha flowers having delicate filaments, lightly kissed (tasted) here and there by bees (bumblebees).

Stage Manager— Lady, (you have sung very) well. Ah! The theatre audience (the spectators), whose minds (inner consciousness) have been captivated by the melody (musical mode), appears as though painted in a picture (motionless like a painted image). Now, by presenting which dramatic composition (play) (that is, by performing which drama) should this (theatre) be pleased (delighted)? Actress— O revered sir, you had already instructed that the incomparable (matchless) drama named Abhijnanashakuntalam should be performed (staged). Stage Manager— Lady, (by you) I have been properly reminded (that is, you have reminded me well). At this moment I had indeed forgotten (it). For your enchanting song had completely charmed me, just as the deer captivated the hero of our play. (Both the Stage Manager and the Actress exit from the stage) Here the prologue concludes.

(Thereafter, the King and the charioteer enter seated on a chariot, pursuing the deer, with a drawn bow in hand) Charioteer— (Looking at the King and the deer) Long-lived one, beholding you (King Dushyanta), armed with a bow whose string is drawn, pursuing the black antelope, (I) seem to behold Lord Shiva Himself, the divine archer, chasing a deer.

King— Charioteer, by this deer we have been drawn (very) far away. Behold, even now this (deer), while running ahead of (our) chariot, repeatedly turns its neck back gracefully to glance behind; out of fear of being struck by an arrow, it has contracted most of its hind part toward the front (that is, it has drawn the rear portion of its body forward); and from its mouth, opened due to exhaustion, half-chewed (partially chewed) blades of kusa grass are falling and scattering along the path. Because of its high leaps (bounds), it seems to run more in the sky (through the air) and less upon the earth.

Charioteer— Long-lived one, the ground was uneven, therefore I had pulled the reins and slowed the speed (movement) of the chariot. Because of this, the deer has gone farther away. But now, upon this level ground, it will not be difficult for you (that is, you will easily catch it). King— Then loosen the reins. Charioteer— As you command. (Acting the movement of the speeding chariot) Long-lived one, behold— behold! Upon the loosening of the reins, these horses of the chariot, as though unable to endure the speed of the deer, stretch forward the front parts of their bodies; the crests (yak-tail ornaments) upon their heads remain motionless at the tips (extremities); their ears are stiff and raised upward; and they continue to race ahead, becoming almost impossible to overtake even by the dust raised (scattered) by their own hooves.

King— Indeed, it is true. These horses are surpassing even the horses of the Sun and Indra (in speed; that is, these horses have outstripped even the steeds of Surya and Indra). For because of the speed of the chariot, that which (an object seen from afar) appears small (to the eye) suddenly becomes vast (that is, appears large). That which (objects such as trees) is actually separate (cut off and distinct from one another) appears joined together (as though united). That which (an object) is naturally crooked appears straight to the eyes (because of the rapid motion). (At present), for even a moment, no (object) seems either far away or near.

“Charioteer, behold this (deer) being struck down (that is, see, now I shall kill this deer).” (Saying this, he acts as though fitting an arrow to the bow) (From behind the scenes) O King, this is a deer belonging to the hermitage; do not kill it, do not kill it! Charioteer— (Hearing and seeing) O long-lived one! In the path of your arrow (that is, before this deer which is the target of your arrow), ascetics have appeared between (the deer and yourself). King— (With alarm) Then let the horses be stopped. Charioteer— Very well. (He stops the chariot). (Thereafter, an ascetic enters along with his disciples) Ascetic— (Raising his hand) O King, this is a deer of the hermitage; do not kill it, do not kill it. Upon the tender body of this gentle deer, do not release (do not shoot) this arrow, which is like fire falling upon a heap of cotton— do not release it (do not shoot it). Alas! Where is the exceedingly fragile and restless life of these poor deer, and where are your arrows, hard and sharp-striking like the thunderbolt?

Therefore, (O King!) withdraw the arrow well fitted upon your bow. Your weapon exists for the protection of the afflicted (the distressed), not for striking the innocent (those without fault).

King— “This (arrow) has been withdrawn (from the bow).” (The King acts accordingly, that is, he removes the arrow from the bow) Ascetic— “This is indeed worthy of you, O light of the Puru dynasty. For one such as yourself, (who has been) born in the lineage of Puru, this (withdrawing the arrow from the bow at the request of the ascetic) is most fitting. May you likewise obtain a universal emperor-like son endowed with such virtues.”

The Other Two (Ascetics)— (Raising their hands respectively, they say) “May you indeed obtain a universal emperor-like son.” King— (With reverence and salutation) “I have accepted (received respectfully) the words of you Brahmins.” Ascetic— “O King, we have come out to gather sacrificial fuel (sacrificial sticks). There (before you) can be seen the hermitage of the venerable sage Kanva on the bank of the Malini River. If there is no delay (interruption) in (your) other duties, then please enter (that is, go into the hermitage) and accept the hospitality worthy of honored guests. Moreover, by properly observing the delightful (sacrificial and other sacred) activities of the ascetics, performed without obstruction (free from disturbances), you will understand how greatly my arm— marked by the scars produced from the friction of the bowstring and adorned thereby— protects (the people).”

King— “Is the venerable head of the hermitage (the Kulapati) present here (in the hermitage)?” Ascetic— “Just now, after appointing his daughter Shakuntala to receive and honor guests, he has gone to the sacred Soma pilgrimage place in order to pacify the adverse fate (misfortune) threatening her.” King— “Very well, then I shall at least see that (daughter of the Kulapati). Recognizing my devotion (toward the sage Kanva), she will convey it to the great sage (Kanva).” Ascetic— “Very well, we take our leave.” (He exits along with his disciples) King— “Charioteer, drive the horses onward. Let us purify ourselves by beholding this sacred hermitage.” Charioteer— “O long-lived one! As you command.” (He again acts out the movement of the speeding chariot) King— (Looking all around) “Charioteer, even without being told, it is evident that this is the boundary (approach region) of the sacred grove.” Charioteer— “How so?” King— “Do you not see? For here and there beneath the trees are seen grains of wild rice (nivara grain) fallen from the hollows inhabited by parrots. In some places smooth stones used for cracking Ingudi fruits are visible. (Elsewhere), the deer, moving fearlessly (without anxiety) because of their sense of safety and trust, endure the sound (rumbling noise) of the chariot (without running away in fear). And (in other places), the paths leading toward the ponds (water reservoirs) appear marked by lines of dripping water falling from the ends of bark garments (worn by the ascetics).”

The roots of the trees have been loosened by the waters flowing through the irrigation channels, made restless by the wind. The redness of the tender leaves (young shoots) has faded because of the rising smoke (vapors) of clarified butter, and these fearless fawns are slowly wandering nearby upon the garden ground where the sprouts of kusa grass have been cut (plucked). Charioteer— “All that (which you have described) is indeed true.” King— (After proceeding a little farther) “Let no disturbance (of any kind) come to the inhabitants of this hermitage. Therefore stop the chariot here itself, while I descend.” Charioteer— “I have drawn the reins tight. Let Your Majesty (O long-lived one) descend.” King— (Descending) “Charioteer, one should enter sacred hermitages (ashrams) only in simple attire. So take these.” (He removes and hands over his ornaments and bow to the charioteer) “Charioteer, until I return after meeting the inhabitants of the hermitage, let the horses be made wet-backed (that is, bathe the horses).” Charioteer— “So it shall be.” (He exits) King— (Walking about and looking around) “This is the entrance (gateway) of the hermitage. Very well, I shall enter.” (Entering, while indicating an auspicious omen) “This hermitage is peaceful, and (my right) arm is throbbing. What result (what omen) could arise here from this (throbbing of the right arm)? Or rather, the pathways (means) of future (destined) events become accessible everywhere.”

King— (Listening attentively) “Ah! From the right side of the grove of trees, the sound of conversation seems to be heard. So, I shall go there.” (Turning and looking) “Ah! These daughters of the ascetics are coming this way to water the young trees with small pitchers (watering pots) suited to their own strength (capacity). (Looking carefully) Ah! Their beauty is exceedingly charming. If such grace of form (loveliness), rare even in the royal inner apartments (women’s palace), belongs to persons dwelling in a hermitage, then surely the creepers of cultivated gardens have been surpassed (defeated in beauty and qualities) by the forest vines (that is, the wild creepers have outshone the garden creepers through their natural qualities).”

“Then, taking shelter beneath the shade of this (tree), I shall wait here.” (He stands watching) (Thereafter, Shakuntala enters along with her two companions, engaged in the previously mentioned task) Shakuntala— “Friends, this way, this way (come here).” Anasuya— “O Shakuntala, I think that Father Kanva loves the trees of the hermitage even more than you. That is why, although you are as delicate as the blossom of jasmine (navamalika), you (by him) have been appointed to the task (work) of filling the watering basins (tree-pits) of these (trees).” Shakuntala— “It is not merely the command of Father (Kanva); I myself also love these (trees) like real brothers.” (She acts as though watering the trees) King— “Is this indeed that daughter of Kanva (Shakuntala) (about whom I heard from the ascetic)? The venerable Kanva surely does not properly understand the value (worth) of things (that is, he lacks discernment in this matter), since he has engaged this (Shakuntala) in the labors of the hermitage. Those sages (Kanva) who wish to make this naturally beautiful (beautiful without any artificial adornment) body (of Shakuntala) fit for austerities are indeed trying to cut the creeper of the Shami tree with the edge (tip) of a blue lotus petal.”

“Very well, remaining concealed behind the tree (in its cover), I shall quietly observe this (Shakuntala).” (He does so) Shakuntala— “Friend Anasuya, I am being tightly constrained by this bark-garment (bodice made of tree bark), which has been fastened too tightly by Priyamvada. Please loosen it a little.” Anasuya— “Very well.” (She loosens it) Priyamvada— (Jestingly) “Blame your own youth here (for this), which is causing your breasts to expand. Why are you blaming me?” King— “She has spoken rightly. This youthful (that is, newly blossomed with youth) body of (Shakuntala), covered by the bark-garment fastened with a small knot upon the shoulder and concealing the fullness of her bosom, does not fail to enhance (rather, it increases) her beauty, just as a flower partly covered by yellow leaves appears even more charming.”

Or rather, although this bark-garment indeed is not suitable (well-matched) for the body of this (Shakuntala), still, it cannot be said that (upon her form) it does not possess the beauty of an ornament (that is, it itself appears ornamental). For even a lotus covered (surrounded) with moss (water-plants) appears charming. Even the dark (dusky) spot enhances the beauty of the moon. Likewise, this slender-limbed (Shakuntala) appears exceedingly beautiful even in bark garments. For what object does not become an ornament (that is, all things become beautifying) for those possessing lovely (graceful) forms (bodies)?

Shakuntala— (Looking ahead) “This Kesara (Maulshri) tree, shaken by the wind, seems as though with its leaf-like fingers it is urging me to come quickly (that is, calling me swiftly toward itself). Therefore, I shall first honor it (by watering it).” (She turns) Priyamvada— “Friend Shakuntala, remain here for a moment (a little while).” Shakuntala— “For what reason?” Priyamvada— “Because by your nearness (that is, by your standing beside it), this Maulshri (Kesara) tree appears as though united with a creeper (in the form of a beautiful woman).” Shakuntala— “That is why you are called Priyamvada (the one who speaks pleasing words).” King— “Though affectionate toward Shakuntala, Priyamvada has indeed spoken the truth. Surely this (Shakuntala’s) lower lip is red like a tender sprout (new leaf); her arms resemble delicate branches (boughs); and throughout her limbs there pervades a charming (captivating) youthfulness like the beauty of a flower.”

Anasuya— “Friend Shakuntala, this jasmine creeper (navamalika), the self-choosing bride (a bride choosing her own husband) of the mango tree (sahakara), to which you yourself gave the name Vanajyotsna (Moonlight of the Forest)— have you forgotten (about it)?” Shakuntala— “Then I would sooner forget myself as well. (Going near the creeper and looking at it) Friend, at a most beautiful moment this union (coming together) of the creeper and the tree has taken place. Vanajyotsna is adorned with the youthful beauty of fresh blossoms, and the mango tree, rich with leaves, is capable of enjoying (supporting and embracing) her.” (She stands gazing at them) Priyamvada— “Anasuya, do (you) know why Shakuntala is gazing so intently at Vanajyotsna?” Anasuya— “I cannot understand. (You yourself) tell me.” Priyamvada— “Just as Vanajyotsna has united with a tree suitable (worthy and fitting) for herself (that is, has become the life-companion of a worthy bridegroom-like tree), (in the same way) she wonders, ‘Will I too obtain a husband suitable (worthy and compatible) for myself?’” Shakuntala— “This is certainly your own desire.” (She pours out water from the pitcher) King— “Could it be possible that this (Shakuntala) was born from a non-Brahmin (Kshatriya) wife of the venerable head of the hermitage (Kanva)? Or rather, there is no need for doubt. This (Shakuntala) is undoubtedly worthy of being accepted in marriage (fit to be wedded) by a Kshatriya, for my noble heart is filled with desire for this (Shakuntala) (that is, it longs for her). For in matters (subjects) of uncertainty, the inclinations of the hearts (inner voice of the soul) of virtuous people themselves become the true authority (decisive proof).”

“Still, I shall properly discover the true identity of this (Shakuntala).” Shakuntala— (With agitation) “Oh! Frightened by the sprinkling of water, this bee, having flown up, has left the jasmine creeper (navamalika) and is now coming toward my face.” (She acts as though troubled by the bee) King— (Looking on with longing) “O bee, you repeatedly touch the sidelong glances (corners of the eyes) and trembling eyes (of Shakuntala). Hovering near her ear like one whispering a secret (confidential matter), you hum most sweetly. You drink the lower lip— the very essence (source) of love’s play (romantic delight)— of this (Shakuntala), who waves her hands to drive you away. While we (King Dushyanta) are left merely struggling in the search (discovery) of the truth, you indeed have already attained success (fulfilled your desire).”

Shakuntala— “This impudent (bee) is not stopping. I shall move elsewhere.” (After walking a few steps, she stops and looks back) “Is it coming here as well? Friend, save me, for I am being tormented by this wicked bee.” Both Friends— (Smiling) “Who are we two to protect (you)? Call upon (King) Dushyanta, for hermitages are meant to be protected by the king.” King— “This is the proper (suitable) occasion to reveal myself. ‘Do not fear, do not fear’— (having spoken thus halfway, he thinks to himself) but then (my) kingship (identity as a king) will become known. Very well, then I shall speak in this manner.” Shakuntala— (After taking a few steps, stopping and looking back) “Is (this bee) still following me here as well?” King— (Quickly stepping forward) “While King Dushyanta of the Puru dynasty, the punisher (discipliner) of the wicked, governs the earth (the world), who is behaving so improperly (acting discourteously) toward these innocent ascetic maidens?”

(Shakuntala remains seated with her face lowered.) King— (To himself) “An opportunity has now arisen for the fulfillment of my desire. Yet, having heard the mention of a husband (bridegroom), spoken jokingly (in playful banter) by her friend, my mind has become restless (distressed) because of uncertainty.” Priyamvada— (Smiling, looking at Shakuntala, then turning toward the hero) “Perhaps the noble sir wishes to say something more.” (Shakuntala reproaches her friend with a gesture of the finger) King— “You have understood correctly. Out of eagerness to hear of such noble character, I wish to ask something further.” Priyamvada— “You may ask whatever (you wish). Ascetics permit unrestricted questioning (that is, any question may be asked of ascetics without hesitation).” King— “I wish to know concerning your friend. Will this vow of the ascetics (the vow of celibacy), which restrains the activities of Kamadeva (love and passion), be observed by this (Shakuntala) only until marriage? Or will she continue to dwell throughout her entire life merely among her beloved deer companions, (remaining a celibate ascetic)?”

Priyamvada— “Noble sir, even in matters of religious conduct, this person (Shakuntala) is dependent upon the will of others. Nevertheless, Father Kanva intends to give her to a worthy bridegroom.” King— (To himself) “Indeed, this longing (desire) of mine for (Shakuntala)— O heart, now give yourself fully to desire (for Shakuntala). Now the doubt has been resolved. What you had mistaken for fire has proved to be a jewel fit to be touched.”

Shakuntala— (As though offended) “Anasuya, I shall go away.” Anasuya— “For what reason?” Shakuntala— “I shall report this Priyamvada, who speaks irrelevant nonsense (idle prattle), to the venerable Gautami (that is, I shall go and complain about Priyamvada to Lady Gautami).” Anasuya— “Friend, it is not proper to leave freely without honoring such a distinguished guest (one who has not yet been properly received).” (Shakuntala begins to depart silently without saying anything) King— (Desiring to stop Shakuntala, yet restraining himself; to himself) “Ah! The minds (mental tendencies) of lovers indeed follow the movements (actions) of the beloved. For though I desire to follow (go after) the sage Kanva’s daughter (Shakuntala), suddenly, out of courtesy and propriety, my movement becomes restrained (checked). Thus, even without rising from my place or actually going after her, I feel as though I had gone and returned again.”

Priyamvada— (Stopping Shakuntala) “Friend, it is not proper for you to leave.” Shakuntala— (Frowning slightly) “Why?” Priyamvada— “In the matter of watering the trees (this task), you owe me two (trees to water). (That is, I watered two trees belonging to your share, and now you must water two belonging to mine.) Therefore, first free yourself from this (debt), and then go.” (Saying this, she forcibly brings her back) King— “Fair lady, I see this venerable (Shakuntala) exhausted merely from watering the trees. For from lifting the water-pitcher, her (two) arms have become drooping at the shoulders, and her palms have grown deeply reddened. Her breath (respiration), moving more heavily than usual, is still causing her bosom to tremble. Upon her face (cheeks) are spread clusters of perspiration drops that hold in place (adhere) the Shirisha flowers (worn as ear-ornaments), and as the knot of her hair has loosened (come undone), her disheveled locks are being supported with one hand.”

“Then I shall free her from this debt.” (He wishes to offer a ring) (Both the girls read the letters engraved with the name upon the ring and look at one another) King— “Do not think me to be anyone else (that is, other than King Dushyanta). This is a gift (token) from the king.” Priyamvada— “Then this ring is not fit to be separated from (your) finger. Yet, merely by your word (itself), this (Shakuntala) has now become free from debt.” (Laughing slightly) “Friend Shakuntala, you have been released (from your obligation) by this compassionate noble sir, or rather by the king himself. Now you may go.” Shakuntala— (To herself) “If I were under my own control, (only then would I go).” (Aloud) “Who are you to either stop me or let me go?” King— (Looking at Shakuntala, to himself) “Does she too feel toward me (with affection and longing) just as I feel toward her, or has my desire now begun to find fulfillment (that is, signs of the fulfillment of my wish are becoming visible)? For although (this Shakuntala) does not join in conversation with me (that is, does not directly speak with me), still, whenever I speak, she keeps her ears attentively turned toward me. And though (she) does not keep her face turned toward mine, nevertheless her gaze scarcely wanders toward other things (objects); that is, it turns toward no one other than me.”

(From behind the scenes) “Ho! Ho! O ascetics, for the protection of the creatures (living beings) of the hermitage, all of you should go near (those creatures). King Dushyanta, wandering about on a hunt, has come close to the hermitage. For the dust raised (scattered) by the hooves of the horses, glowing red like the radiance of the evening (setting) sun, is falling upon the trees of the hermitage like swarms of locusts, upon whose branches (boughs) the bark-garments of the sages, wet from washing, have been spread out (to dry). And this elephant— frightened at the sight of the chariot, having one tusk broken by a violent (harsh) blow against the branch (limb) of a tree before it, with its feet entangled as though shackled by clusters of creepers dragged along by its steps, and scattering the herds of deer in all directions— is entering the hermitage like a living embodiment of an obstacle to our austerities.”

All the (ascetic maidens), listening attentively (hearing this), become somewhat frightened. King— (To himself) “Ah, shame indeed! The men from the city, searching for me, are surrounding the hermitage. Very well, then I shall depart.” Both Friends— “Noble sir, we have become frightened by this account of the wild elephant (forest elephant). Please permit us to return to the cottage (hermitage hut).” King— (With concern) “You may go. I too shall make such arrangements that no distress comes to the hermitage.” (All rise) Both Friends— “Noble sir, since we could not properly offer you hospitality, we feel ashamed to request that you favor us again with your presence.” King— “No, do not say so. By merely beholding you all, I myself have been honored.” Shakuntala— “Anasuya, my foot has been injured (wounded) by the tip of fresh kusa grass, and my bark-garment has become caught in the branch of a Kurabaka tree. Wait for me until I free it.” (Looking toward the King, Shakuntala intentionally delays on this pretext and then exits with her friends) King— “My eagerness to return to the city has grown faint (that is, my desire to go back to the city has vanished). Therefore, I shall meet my attendants and station them at some distance from the hermitage. I am unable to restrain myself from thoughts of love concerning Shakuntala. For while (my) body moves forward toward (my attendants), (my) mind, becoming almost estranged (alien) from me, runs backward toward (Shakuntala), like a silken banner-cloth driven backward against the wind.” (All exit)

Chapter 1 — First Act