Author(s): Dr. Manteswar Barman Assistant Professor of Sanskrit University B.T and Evening College Keshab Road, Gunjabari, Cooch Behar Email: barmanmanteswar@gmail.com Page no: 1-7
Abstract: Kālidāsa’s Abhijñānaśakuntalam is a quintessential example of classical Sanskrit drama, noted for its poetic excellence and emotional depth. To analyze this work through the framework of Anandavardhana’s Dhvanyāloka a key text on literary aesthetics, provides a nuanced understanding of its literary qualities. Anandavardhana’s theory emphasizes dhvani (suggestion or implication) as the cornerstone of poetic beauty, encompassing various aspects like vastudhvani (suggestion of the subject matter), alamkāra-dhvani (suggestion of ornamentation), and rasa-dhvani (suggestion of emotional experience). This analysis explores how Kālidāsa’s play exemplifies these concepts and contributes to its enduring appeal. Vastudhvani pertains to how the subject matter of a work is presented and suggested through nuanced expression. In Abhijñānaśakuntalam, Kālidāsa masterfully employs vastudhvani to explore themes of love, separation, and reunion. The play’s portrayal of Śakuntalā’s love for Duṣyanta and the resulting trials is not merely described but suggested through intricate details and subtext. For example, the depiction of the natural world, such as the forest and the hermitage, serves as a backdrop that mirrors the emotional states of the characters. The forest is not just a setting but a symbol of Śakuntalā’s emotional journey its tranquility reflecting her initial bliss, its harshness mirroring her trials, and its eventual beauty symbolizing her reunion with Duṣyanta. Kālidāsa’s use of imagery like the description of the deer and the recurring motif of the ring functions as a vehicle for suggesting the deeper themes of love and fate. The broken ring, which is crucial to the plot, symbolizes the interruption in their love and the eventual restoration of their relationship. Through these symbols, Kālidāsa subtly suggests the narrative’s emotional and thematic layers, embodying Anandavardhana’s principle of vastudhvani. Keywords: Kālidāsa, Vastudhvani, Anandavardhana, Dhvanyāloka, Śakuntalā, Duṣyanta
