The very mention of Romantic Sanskrit Poetry springs forth the name Kalidasa. Indeed, it is not for nothing that encomiums were lavished upon him, including the epithet he is best known by,  Kavi-kula-guru. But whatever we know about the poet and his poetry, we know less about the man and agree upon even less regarding his biography.

Great personalities, particular of the non-religious variety, are often the subject of great controversy. While it is indeed incontrovertible that Sri Rama hailed from Ayodhya or that Adi Sankaracharya hailed from Keladi, others such as Kalidasa are often fought over. Caste battles spill over into regional battles, and the end result is the truth is occluded. But a society that prides itself in Satyameva Jayate must honestly and resolutely study and accept Satya, whether it caters to our pride or not.

That Samrat of Simile, Kalidasa Mahakavi has often been the subject of such petty parochialism. As with Vishnusarman and even Bharata Muni, some scholars often claim him for Kashmir without consideration for tradition. Others assert a Bihari background, or most infamously, the famous city he famously celebrated—Ujjain. But the legendary master of poetic verse came from none of these places. After much research into the issue, and careful consideration of the facts—and prioritisation of the truth above all—it has become apparent that the poet blessed by Devi herself hails from Devbhoomi itself.

That’s right, the author of such storied works as Abhijnanasakuntalam, Meghadutam, MalavikAgnimitram, and many more, comes from the modern Indian state of Alaknanda and Mandakini fame…Uttarakhand. This is a tradition long maintained by the Garhwalis, Kumaonis, & Paharis, but, due to the composition of the Indian “intelligentsia”, has long been ignored. But the time has come for Truth to truly triumph, and for this master of poetic beauty to finally be credited to that beautiful state. Future evidence notwithstanding, the Kalidasa of yore was most definitely associated with the Kalimath of Uttaraanchala.

“A Poet who has made a distinct contribution to this sumptuous Sanskrit literature is Kalidasa. He has pictured in his works the beauty in life and pondered upon how we can give pleasure to others by generous and graceful behavior. His portrayals are vivid and heart-warming; his wordpower is unique. In a few words he is capable of bringing out all the meaning intended. His writings touchingly show up a noble, meaningful mode of life for the people to pursue. His works are an intellectual treat to thinkers and common readers alike” [2, 7]

Background

Indian drama has a long-standing rule against tragedies, but the story of India’s most storied dramatist broke this law in all too tragically romantic a fashion. If one could ask, how could the author of the Meghadutam capture in such moving sentiment, the viraha (feeling of separation) that the yaksha felt for his wife, one need look no further than the life of this ‘Servant of Kaali’.

The tale of the upapathi of upama fittingly begins in the village of Kaviltha, Rudraprayag District, Uttarakhand. An unfittingly modest memorial is maintained here to this day for this master of metaphor, and his life begins with the Primordial Goddess herself.

As H.D. Bhatt notes:

“It is strange that the Indian scholars have not so far been unanimous in their opinion about the birth place of Kalidas. This has been a debatable and controversial issue, even though all his literary works go on to establish the fact that Garhwal is the birth place of this noble and immortal soul of India

His birth place is said to be a place called ‘Asam’ originally known as ‘Ashram’, on the banks of river Mandakini, below Guptakashi near the present Vidyapeeth in Chamoli. Flanked by the historically important Ukhimath on one side and the prestigious ‘Sidhpeeth’ at Kalimath and facing the most fascinating snow-capped peaks of Chaukhamba, Guptakashi had been an ancient seat of learning.” [1]

The Mahakavi’s repeated references to the Mandakini in his numerous works demonstrates his attachment to it.

Kalidasa was born to an aged farmer couple after much worship of the Divine. Though they were highly devout, they had not yet been blessed by the joyous laughter of children of their own.

“Dharmanand and his wife lived in a beautiful village in the lap of the himalayas. They were poor and pious farmers. They used to work hard in their fields. They had everything for their needs…They nursed only one secret sorrow. They had no son.” [1, 1]

The agrarian couple was overcome by sadness when they saw others basking in the warmth of their children. They prayed to God to be blessed with a child, went on many yaathras to sacred sites, and requested the blessing of venerable munis.

One day, an ascetic visited Dharmanand’s village. The aged farmer prostrated before the holy man, and explain his problem. The muni said, “Go, worship Mother Kali. She will very soon bless you with a beautiful child.” [1,1] Dharmanand was elated, and he and his wife carried out the advice of the holy man. They did puja at mandir, observed navraathra vratha, and followed other such observances on auspicious days. Eventually, the couple conceived and a handsome child was born to them. Naturally, he was named Kalidasa.

Alas, as destiny would have it, Dharmanand also had a dream not too long before his son was born. He dreamt that an angry ascetic would take away his son from the couple. After four years of familial bliss, the dream came true. Dharmanand and all the villagers pleaded with the ascetic to release the child. After a gift of grains, he finally agreed, but the incident so traumatised Dharmanand that he passed away not long after. After exactly three days, his wife left the earth as well, and young Kalidasa was orphaned. The village headman, a cowherd, was compassionate and took him in.

“Kalidas grew up to be a handsome young boy. He had sharp features, a lovable face and a golden voice. He was very fond of singing.” [1,3] Villagers would gather around him and listen to his beautiful melodies. His fame spread throughout the land, and soon villagers praised him as Kavi. In ancient times, poetry was frequently sung.

“It is said that whenever he hummed a tune, it used to cast a magic spell on old and young alike. For hours together he would sit outside Kalimath or move around the hills near the banks of the Kaliganga, a tributary of Mandakini. On the outskirts of the village was a colony of singers and song composers who used to earn a living by putting up song and dance performances”. [1]

Thus, the master of poetry was also a master of song. In fact, his skill at sangeeta was said to have brought him together with his first and one true love…the aptly named Parvati, “an epitome of beauty and in possession of all the captivating feminine charms. On catching sight of the girl Kalidas fell in love with her — evidently a case of love at first sight. Parvati too responded to his call of love and was heard humming his songs very often.” [1]

The Love story of Parvati & Kalidasa

It is not too often that the names of couples in romantic tales mirror their namesakes. And yet, it is poetic that this most gifted of poets, Kaali-daasa himself, would fall in love with and marry a girl named after Shakti. Born to the very village headman who had taken in the future mahakavi, Parvati was a gorgeous girl who reciprocated Kalidasa’s love for her. She told her mother of her feelings for the budding minstrel. Parvati’s mother also thought highly of the young lad, and took the two to the temple to get married. Deeply in love, the couple spent many happy days together.

“Kalidasa does not preach; he does not moralize. He shows us life as it is in all its beauty and splendor, as well as its inexplicable vagaries, which bring misfortunes deservedly or undeservedly.” [3, 31]

As fate would have it, however, poor Parvati was kidnapped by dacoits, who raided their village. Kalidasa was devastated. To live without Parvati pierced him more deeply than being orphaned. He went far and wide searching for her, but to no avail. Nothing or no one could comfort him, and as he stated in his own kavitas, “life itself becomes a burden“.

Kalidasa, had by now, become a poet of merit. But how did the lower class son of a farmer and the foster son of a village headman attain such himalayan heights of learning? Many aver that his being surrounded by ascetics and various learned men from birth no doubt influenced him. However he managed to master the devabhasha, Devi herself is cited as the source of his speech, as popular tales themselves confirm. By the traditional account, the young Servant of Kali set out to Kalimath from his native village of Kaviltha, and was blessed with linguistic mastery. [1] Meandering for many years, Kalidasa eventually arrived at the palace of King Vikramaditya. The Raja of Ujjain received him courteously, installed him as his court poet (and as one of his Navaratnas) giving him the title Raja Kavi.

It is no surprise that this servant of Mahakali became court Kavi in the city of Mahakaal. Wounded deeply by the loss of his beloved Parvati, Kalidasa’s own separation no doubt inspired the magical poem Meghaduta, with the pangs of yearning captured so elegantly and captivatingly. Predictably, women tend to fall in love with already lovelorn men, and Princess Ratnavali, the daughter of Samrat Vikramditya, fell in love with Kalidasa. Though the poet laureate basked in fame, fortune, and royal honour, he remained in mourning for the loss of his wife.

It is said that Ratnavali asked Kalidasa to compose happy and humourous songs, but the morose mahakavi could only compose ones mired in sorrow. He even asked Vikramaditya to send soldiers throughout Bharatavarsha to search for Parvati. Despite traveling throughout the Five Indies, they failed. Though she empathised with Kalidasa and was moved by his pain, she remained resolutely in devoted to him, and had her mind set on marrying him.

After four years of insistence, Ratnavali finally managed to convinced Kalidasa to accept her as his wife. The Sun of Valour who ruled Imperial Ujjaayini feted this occasion in regal style. A princess obviously had to marry at least a prince. And so, Vikramaditya made Kalidasa king of Kashmir, where he ruled under the title Matrgupta. The historicity of this is attested to by none other than Pandit Kalhana in the Rajatarangini.

Vikramaditya Paramara founded an Imperial dynasty that lasted a thousand years, and at its highpoint, covered Bharatavarsha. Even at its close, the Paramaras produced such royal rulers as Paramara Bhoja and Gangasimha—its final dynast. When the Gonanda dynasty of Kashmir lacked a claimant to the throne, Emperor Vikramaditya was requested to send a ruler. Kalidasa was appointed as king. Matrgupta is deemed an appropriated nom du roi for Kalidasa, given that it means “Protected by Mother”. Irrespective, Kalidasa was not suited for administration.

“Kalidas still cherished the sweet and loving memory of Parvati. His heart was neither in the affairs of his kingdom nor in his life at home. Even as a king, he did not find peace of mind & remained grief-stricken.” [1, 5]

Princess Ratnavali, now Queen of Kashmir, was at a loss at what to do. Kavi-kula-guru continued to wear the clothes of commoners, ate non-luxurious food, and remained involved in poetry. It is said that the poem Setukavya was written by Kalidasa in honour of his successor, Pravarasena II, who constructed a bridge on the Vitasta river.  Eventually, Kalidasa ceased living in the palace. Ratnavali, was depressed at the absence of marital bliss. Though she loved this most accomplished of poets, she could see that he remained in love with Parvati. The heartbroken princess soon passed away.

Upon Ratnavali’s death, which appears to have coincided with King Vikramaditya’s passing, Kalidasa renounced his throne and began aimlessly journeying in itinerant peregrination. He resumed his search for Parvati, all the while composing hymns in praise of nature. Villagers of different desas happily gave him food and shelter throughout his travels, if only to hear his songs.

The Scholarly & Haughty Princess of Kashi

“In ancient India, people aspired to achieve cultural refinement through learning. Sanskrit was the lingua franca and mastery of the language was considered a great achievement, sign of culture and an attribute of nobility. During those days, people cared little for wealth & moral values were held in high esteem.” [1, 6]

Perhaps there was no better example of this than the scholarly but haughty princess Vasanti of Kashi, also (and unsurprisingly) called Vidyottama. “ At that time, a king named Bheemashukla ruled over Kashi (Banaras). He wanted his daughter Vasanti to marry Vararuchi, a scholar in his court [incidentally, also once a navaratna of Vikramaditya]. But she refused saying she was herself a greater scholar than he was” [2, 7-8] Famed for humiliating prideful brahmins jealous of being exceeded in learning, the Princess of Kashi refused to take a husband, unless such a suitor defeated her in debate.

The King of Kashi sent a proclamation far and wide declaring this challenge, and offered half his kingdom to the winner. Despite many accomplished suitors coming forth, all were defeated by Vidyottama. Seeking vengeance against the learned princess, suitors sought revenge by aiming to marry her off to an unworthy man.

It so happened that Kalidasa had wandered into Kashi, and had lost himself. By some accounts he had become dumb in his desperation for Parvati, and per others, he had been instructed to act dumb by these rejected suitors. Irrespective he was presented to the princess as a Guru who had taken a vow of silence for a year.

Three judges were assembled who instituted the conditions for the debate. The Princess would ask 3 questions. If the first 2 were answered correctly, then “the Guru” would automatically win. Vidyottama asked the first question by simply raising one finger, to indicate that God (Paramatma) was One and created Man (Jeevatma). The Silent Guru responded by raising 2 fingers, which the judges took to mean correctly that both Purusha & Prakriti (i.e. Shiva & Shakti) had created man. However, Kalidasa actually thought she had raised 1 finger to show she was going to poke him in the eye, hence he showed 2 fingers to show he would respond by poking both her eyes.

The second question that was asked was represented by 5 fingers, meaning that man is made up of the 5 elements (i.e. Panchabhutas). The Silent Guru responded with a clenched fist, which the judges took to mean that the 5 elements compose man in combination, and not singly. However, what had actually been perceived was that the princess had raised her hand to show she would slap him, so he angrily showed his clenched fist to show he would punch in response. Nevertheless, Kalidasa in this mauna muni incarnation was declared the victor and was duly married to the accomplished Princess of Kashi. Although he passed some pleasant time in Kashi, he soon forgot the vow of silence, and the Princess realised the fraud. Enraged, she turned him out of the palace. By some accounts, Kalidasa had in fact lost his gift of his learning. Only after he had regained Vidya could he return to Vidyottama.

Kaalidasa began worshipping Kaali in earnest, and as is well-known, Kaali Devi appeared to him in a dream and wrote on his tongue, bestowing learning upon him. The Kavi-kula-guru then returned to Kashi.

When Vidyottama asked him in Sanskrit whether he had attained knowledge of the girvanabhasha, Kalidasa is said to have responded by reciting his three classics of Kumarasambhava, Meghadutam, and Raghuvamsa. The most perfect of poets had by now aged, but word of his poetic power was known throughout India. He began traveling again.

There has been some controversy over the mention of Kalidasa in the Bhoja Prabandha of Ballala Deva. The latter wrote many years after Kalidasa, and this being merely an ode, is not a true Charitra. It is known that Banabhatta and Kalidasa were certainly not contemporaries, but both are mentioned in episodes alongside Paramara Bhoja, along with Dandin and Mogha. As such, the stories of Bhoja and Kalidasa can be set aside as the former, per Pandit Chelam, ruled from 638-693 CE, while the latter is dated to the 1st Century CE, and is attached to Bhoja’s ancestor: Paramara Vikramaditya from Ujjain.

The same chronological questions have been asked about Kalidasa’s association with the Sinhalese Prince Kumaradasa. Though this ruler of Sri Lanka has been identified with Kumaragupta or Kumaradhaatusena of ~500 CE, the Ceylonese Chronicles may have been tampered with by the British, just as Indian records have been. As to why these accounts of the correspondence between Kalidasa and Kumaradasa should be accepted, the details attached to the story are the only ones that give us an account of the end of Kavikulaguru.

Journey to the South

The Prince of Sinhala was considered to be learned and a patron of the arts. It is said that he had been so inspired by Kalidasa’s Meghadutam, that he wrote and submitted the Jaanaki Haranam to his idol. He also invited the master poet to visit Sri Lanka and reside there as his guest.

“Kalidasa derived much joy by reading Janki Haranam. In this book, Kumargupta had scaled new poetic heights and its sonorous rhymes were on the lips of everyone.” [1, 14]

Despite his advanced age, Kalidasa was excited by the invitation, and sent a letter praising the work of Kumaradasa, and agreed to journey to Lanka. He did so as an ordinary traveler. After many months, he reached Kanyakumari, and stayed at a temple.  Suddenly, an old woman came to him and asked Kalidasa if he remembered who she was.

“Then the woman disclosed that she was Parvati, the daughter of the village headman and his wife.

On hearing the name of Parvati, Kalidas got a great shock. The dormant love for Parvati once again surged in him and the old memories revived. Out of sheer happiness, he fainted and fell down. Parvati took him to a vihara where she nursed him back to health.” [1, 15]

Kalidasa soon recuperated and passed many days at the vihara in her company.

“Parvati narrated to Kalidas the untold sufferings and hardships she underwent at the hands of her kidnappers. She gave the details of her escape from the kidnappers in a foreign land and how she returned to India. She said that she used to read the songs written by Kalidas and also that his sincerity and depth of feelings sustained her during her travails. She came to Kanyakumari and had, since her arrival, been passing her days in the vihara.” [1, 16]

Thus, the most puissant of romantic poets himself lived a life of tragic romance. After decades of searching, he had, in the autumn of his life, been reunited with his young love and first wife, Parvati, whom he had lost so many years ago. The viraha kavya of Meghaduta becomes all the more poignant when juxtaposed with the life of its author.

So Long in Ceylon

Obligated to visit Kumaradasa after so many months, Kalidasa eventually took his leave and crossed the Palk Strait to Sri Lanka. One night he crossed paths with a courtesan named Kaamini. Though she did not know who he was, she was intrigued by this old man from India.

“O stranger to this land, you come from India where people are honest, trustworthy and observe the dharma. You inspire confidence in me and I will tell you why I am awake at this hour.” [1, 16]

This young beauty said she was the sweetheart of Kumaradasa. Though her love for him was requited, the prince had laid down a condition for marriage:  He had composed a half a verse that she was to complete. However, the task was beyond her, and she asked this most skilled of poets to help her. Here was the verse

Kamale kamalotpatthih shruyathe na cha drsyathe |

“Was lotus growing on a lotus seen?

Nay, only heard, it is never seen.”

Kalidasa is said to have taken out his pen and written the following:

Baale tava mukhaambhoje katham indee varadvayam || [11, 136]

“How does it happen, O lovely lass,

Thy lotus face has two lotus eyes”

Elated, Kaamini thanked Kalidasa and led him to a room to rest. However, fear soon overcame the courtesan, and she wondered what would happen if Kumaradasa discovered she did not complete the couplet. Worried that he wouldn’t marry her if he found out the truth, she secreted herself back into the old man’s room and stabbed him in the heart.

The most celebrated of poets cried out in agony, “Kumargupta, Goodbye. Kalidas is unlucky; he could not see you“. [1, 17]  Then he died.

Horrified at what she had heard, Kaamini checked his baggage to see if it was indeed the Raja Kavi, and she soon found a copy of Meghaduta, along with a freshly composed kavya. She cursed herself and then killed herself with the same knife. The next day Kumaradasa came to the villa only to stumble upon the horrific scene. He read the newly composed couplet and the freshly composed poem, and realised what had happened. It is said that at Kaamini’s and Kalidasa’s funeral, the Prince was so overcome by grief that he jumped onto Kalidasa’s pyre with the couplet in his hand.

So passed the Sanskrit similist in Ceylon. The story may stretch credulity, but it nonetheless accounts for the poet’s vast knowledge of the length and breadth of the Indian Subcontinent. Though there are many other stories and legends surrounding his life, Kalidasa’s background is best covered in brief. His achievements, however, can be covered at length.

Achievements

“Kalidasa is a courtly poet, but his knowledge of the human heart and his understanding of the complex play of human motivation, are profound. A keen observer of nature in all its varied aspects—he sees with a painter’s eye and speaks with a poet’s tongue—he is at the same time a learned writer who wears his enormous learning lightly and with grace.” [2]

• Considered the most Skilled of Sanskrit poets
• Called Kavikulaguru by Jayadeva
• One of the Navaratnas—Nine Gems of King Vikramaditya’s Court in Ujjain.
• 8 Confirmed Works: 3 dramas, 2 epics, 2 lyrical poems, and 1 descriptive poem
• Mahakaavyas: Kumarasambhava & Raghuvamsa
• Poems: Sringaara Tilakam, Rtusamhaaram, Meghadutam
• Dramas: Vikramorvaseeyam, MalavikAgnimitram, Abhijnaanasaakuntalam
• Other works: Jyotirvidabharana (an astronomical treatise), Setukavya (Prakrit poem)

Which auteur could be more romantic than than that master of Simile, Mahakavi Kalidasa,and his eternal Kavya? For almost 2,000 years, this most perfect of poets has made even the most pedantic recognise that simplicity is the ultimate sophistication.  Long before Shakespeare asked “Shall I compare thee to a summer’s day“, the Court Poet of King Vikramaditya had become the utmost paragon of Upama, with comparisons that were as fresh and unique as the flowers that garlanded the Gods.

“Kalidasa’s works are known for their triple qualities—a sense of beauty, a capacity for appreciation of the aesthetic values and our traditional culture” [2, 21]

His works were as plentiful in number as they were extensive in range. There are a number that are traditionally attributed to him such as Nalodaya, Pushpabaanavilaasa, and the love poem Ghatakarpara. Devotional stotras such as Syaamalaadandaka are also added to the list. Nevertheless, the ones discussed below are the most plausible at present.

Jyotirvidabharana

A work on jyotihsastra, this astronomical treatise is oft-ignored by modernists, but considered to be written by Kalidasa according to traditionalists.

“This work Jyotirvidabharana, says Kalidasa, he began to write in the month Vysakha of 3068 Kali Era (or 33 B.C.) and was completed in the month Kartika of the same year.

In sloka (22-1), Kalidasa mentions one important trait of Vikramaditya. He uses the adjective ‘abhiprajaanandakara’ to Emperor Vikramaditya which means ‘he who pleases the people devoted to him.” [4, 185]

This treatise also mentions the victory of Emperor Vikramaditya over the Sakas, in 56 BCE. [11, 102-103]

Setukavya

Also known as Setubandha, this is considered the most exquisite poem in Prakrit. It is no surprise therefore, that it has been ascribed to Kalidasa—though not without some contestation. Composed in reference to the bridge of king Pravarasena, it is alternately called Raavana-vadha as it directly describes the construction of Rama’s bridge and the eventual defeat of Raavanasura.

“After the death of Vikrama, when Pravarasena came to the throne of Kashmir, Matrigupta retired to Benares, and there is a poem in Prakrit, called Setukayya, which tradition says was composed by Kalidasa at the request of Pra-varasena. This poem is praised by Pratapendra and Dandin and Rama-shrama as that of Kalidasa. Tradition also says that Pravarasena constructed a well-known bridge of boats across the Vitasta.” [11, 102]

Kuntesvaradautya

This poem is one that discusses an embassy sent from King Vikramaditya to the ruler of Kuntala. Kalidasa, the author of Meghaduta, is himself sent as duta, and the King of Kuntala receives him with due honour.

Nevertheless, on return to Ujjain, Kalidasa relates his time in Kuntala to Vikramaditya, and composes this poem to praise his patron while parodying Kuntalesvara. [11, 104]

Rtusamhaaram

A small descriptive poem written in 6 cantos, Rtusamhaara is considered Kalidasa’s freshman work. Indeed, many even aver that it may not have been written by him, given that it does not align with the superior quality of his other oeuvres. Nevertheless, most believe this to have been composed by Kaviltha’s favourite son in his younger days.

Verses in the work vary from 18 to 28, and describe the youthful pleasures of the different seasons (hence the name). Demonstrating once more his brilliance, he begins with Summer and leaves Vasantha Rtu, the ‘Queen of the Seasons’ for the crescendo. [9, 33]

Sringaara Tilakam

Another work ascribed to his colourful youth is the vivacious Sringaara Tilakam. It is a poem in 31 stanzas, and celebrates the topic of love in full verve. Foreboding things to come, the poet writes that the pleasure of love is not truly appreciated unless one suffers for it. The poem is as passionate as it is poignant.

Chandrasa chanda karaayathe mrudhugati varshatho’pi vajraayathe

Maalyam suchi krulaayathe Malaya jaalepah sphulingaayathe

Sralokasti maraayathe vidhivasaat praargo’pi bhaaraayathe

Haa hantha pramadaavi yoga samayah kalpaantha kaalaayathe

The moon scorches like the sun. The gentle breeze is fierce as Indra’s bolt. The garland pricks me like a heap of needles; sandal paste turns into a burning coal. Daylight becomes dark, by the adverse power of fate, life itself becomes a burden. Alas, the separation from my beloved is like the end of a Kalpa. s.16

Meghadutam

Meghadutam is considered the first in a genre called duta kavyam, or messenger poetry. There have been many such over the centuries, but this is seen as the first and most impactful.

The Meghaduta is divided into the Purvamegha (earlier cloud, as in the cloud’s journey to Alaka puri) and Uttaramegha (latter cloud, the narrative when the journey to Alaka ends).

The Purvamegha has 63 slokas and the Uttaramegha has 52 for a total of 115.

“Meghadootam (The Cloud Messenger) is more than a  poem of longing and separation with glowing descriptions of nature. Myth and legend, dream-vision and literary reminiscences are blended with topographical and conver-sational dimensions to give  a love-poem depth and a multilayered texture. Further, the lover-beloved (naayaka-naayikaa) framework of the dramatic tradi-tion in which the poem can be seen as placed in its own times is raised to another level where it is the landscape that figures as the beloved of the cloud-lover that is itself the alter ego of the real lover-the speaker in the poem.” [3. 34]

The metre used in the Meghadutam “is the stately mandaakraanta, which is defined as appropriate for love-poetry. Each line is 17-syllabled with a pause after the tenth. The lines have a measured cadence in an intricate pattern of 3-syllable units:—, -uu, uuu, –u, -u-, –(-is long and u u is short). The compound words in the first line move heavily, as if the weight of sorrow bears down on each syllable” …“The mandraakraanta with its long line and intricate metrical pattern serves the poet’s purpose well” [3, 41]

Meghadhootham has been called many things, but perhaps it has been best described as follows: “It is a total picture of a beautiful world” [2, 46]

Obstructed by an angry and inexorable Fate, the distant one [your husband] seeks to unite with you, to mingle tears with tears, arms with arms, pining bodies, anxious heart to heart, sigh with sigh—such are his wishes. [1,38]

MalavikAgnimitram

Malavikaagnimitram (Romance of Malavika & Agnimitra) is considered a comedy, and the material is more light-hearted in comparison to more serious works such as the Raghuvamsa. It is the story on the Romance between Malavika and Agnimitra, scion of the Sunga Emperor Pushyamitra. [9, 113] It is a play in five acts. Notably, “Kalidasa mentions his predecessors, Bhaasa, Raamila, Saumilla, Kaviputra and others in the prologue to Maalavikaagnimitram.” [3, 11]

मूढ्ः परप्रत्ययनेयबुद्धिः
(mudhah parapratyayaneya buddhih)
Only a fool will be led by another's understanding

-Sanskrit saying

cc @AndhraPortal

— aryabhatti (@aryabhatti) December 11, 2017

Puranamityeva na saadhu sarvam
na chaapi kaavyam navamithya vadhyam
santah pariksya’nyatarad bhajante,
moodah parapratyayaneya buddhih [6]

All things which are old are not necessarily true
and all things which are new are not necessarily with fault.
To wise men, both of them might be acceptable only if they stand to test.
Only fools are swayed by the opinion of others. Act 1, sloka 2

Apyaakara samutpannaa manijaathira samskrutha
jaatharoopena kalyaani na hi samyoga marhathi [6]

Even though sprung from a mine, a jewel, Oh noble lady, is not worthy of union with gold until it is polished.
A.5, sloka 18

Vikramorvaseeyam

The next of his great dramas is considered to be Vikramorvaseeyam. Better known as ‘Urvashi won by Valour‘, this composition by Kalidasa is a well-known dramatisation of the tale of Urvashi the Apsara and Pururavas, progenitor of the Purus. This is one of the rare dramas that can be deemed to be almost tragic, as the apsara Urvashi eventually leaves the mortal Pururavas to return to Svarga. It is also a nataka in 5 Acts. [6}

Abhijnana-Sakuntalam

Mentioned in the Mahabharata, this courting couple was forever immortalised by Mahakavi Kalidasa.

His famed drama was called Abhijnana-Sakuntalam: The Recognition of Sakuntala. This paramount of romantic lyricists produced a timeless tale of love, separation, and reunification. The composition was artful, the verses were tasteful, and the numerous productions of this play wonderful, across the centuries.

So fascinated were foreigners by the Recognition of Sakuntala that there were at press time 46 translations of this play in 12 European languages, going back to the first in 1789.  Indeed, in Europe, even a libretto was composed and Operas performed on it, at the height of the Colonial era. While it is nice to impress the videshi, it is better to take inspiration from the Bharatvasi. Sakuntala was forever ceremonialised by Raja Ravi Varma in his celebrated paintings. She is seen here with friends, artfully posing.

A play in  7 acts, it begins with the traditional Prastaavana (Prologue) and Benediction (Naandhi). Despite being a drama, Abhijnaanasaakuntalam is a veritable treasure trove of poetry with 34 slokas in the first act, 18 in the second, 26 in the third, 21 in the fourth, 31 in the fifth, 32 in the sixth, and 35 in the seventh…a grand total of 197 couplets. [6]

Raghuvamsam

“’Raghuvamsha’ depicts our ancient, historical culture and tradition.” [2, 39]

There are by tradition 25 cantos, of which 19 have come down to us. [7,ii] The great Telugu commentator Mallinatha, from new Telangana state, wrote a commentary on it. Raghuvamsa begins with a salutation to Lord Shiva and then commences with the story of King Dilipa. of the Solar Dynasty. From there it proceeds to the rise of Raghu, then Aja, then Dasaratha, and the veritable tilaka of the Raghus himself, Sri Ramachandra. After relating key episodes in the Ramayana, it proceeds to successors from Kusha down to Agnivarna. In a long line of kings of high character, the last one named proves a libertine. Nevertheless, it ends on a note of hope, mentioning his pregnant wife.

In Raghuvamsa when describing the romance of Indumati and Aja, Kalidasa’s “narrative here shows the poet’s high taste aesthetic awareness of beauty and also a lively light-heartedness”. [2, 33]

This episode has everything suited for cinema. A beautiful couple, she chooses his hand in marriage, he defeats rivals in battle. Nevertheless, Narada passes by after many years of happy marriage, and his veena fell down hitting Indumati.

“Resting Indumati’s head on his lap, he [Aja] laments: “Should a flower take away your life? Why don’t I die even as I hold this garland? It’s God’s will that poison could [turn] into nectar and the latter may change into poison. You were everything to me—wife, counsellor, aide and my disciple in learning of wars. By snatching you away, death has robbed me of everything” [2, 37] One can almost imagine Kalidasa’s own life inspiring these words of the Ikshvaku King.

“The poet has illustrated ‘Kama’ (‘desire for pleasure’) in the life of Aja…It is an excellent example of devoted love.”[2, 37]

Most outstanding, however, is the breadth of Kalidasa’s coverage of subcontinental geography. From the descriptions of delicacies in northwest to the invitation of the southern Cholas to northern svayamvaras, the culture unity of Bharatavarsha is on display.

“Kalidasa, however, had good knowledge of the whole of Bharat….Raghuvamsa, Kalidasa while portraying the conquests of emperor Raghu, describes the places and peoples, their modes of living, food-habits and trades and professions, rivers and mountains in almost the whole country—Assam, Bengal and Utkal in the East; Pandya and Kerala in the South and Sind, Gandhara and other places in the North-west”[2, 10]

Kumarasambhavam

A poem in 17 cantos (though Kalidasa is usually credited only with 8), [11,120]  its predominent rasa is Sringara, but due to the great battle that is to ensue, it has elements of Veera rasa as well. Though the Kumarasambhava is one of his most celebrated works, he is said to have only authored the portion up to the marriage of Siva-Parvati, the remainder may actually have been contributed by a student.

“ A mystic awareness of the transcendental combines in his works with a sensuous feeling for beauty in women and nature, reflecting as it does the blend of the erotic and spiritual that characterizes Siva-mythology. Kalidasa’s work is instinct with Siva’s presence. In all of his works he celebrates the values of the great civilization that he was heir to” [3]

Adapting the a portion of the Skanda Purana, it discusses the marriage of Shiva and Parvati and the Birth of their child, Kumara (Karthikeya/Muruga/Skanda), who will grow up to become the commander-in-chief of the Devas and defeat the demon Tarakasura. There are some who assert that due to presence of eros in the gandhamadhana episode, that Kalidasa’s pupils must have finished sections of it, to account for the disparity. There are others of more foreign disposition who assert that all of Sanskrit kavya is eros, so there is no point in drawing morality from it (this specifically is patent nonsense).

It is true that as both Kama and his mate Rati feature in the Kumarasambhava, so too do Sringara rasa and Rati bhava accompany each other. But as both this mahakavya demonstrates, the nava rasa is present in the discussion of dharma, because Dharma pervades all 9 of them.

Vaidarbhi Style

It is a rather  odd thing today that the romantic poetry of Kalidasa is ignored by pedants passing themselves off as poets. Like those poseurs of the Gaudi style, they pride themselves in showcasing knowledge and grammar, rather than mastery of wordsmithy. They treat romantic poetry as “vulgar” all while basking in a prurient erotic ethos. But Sringara (Romance) is also part of our Culture, and contrary to these stealth sepoys, it does not refer to Rati bhavi (erotic feeling).

Rati is the primal impulse that becomes ennobled in Prema. Whether it is the vipralamba Sringara of Sakuntala or the samboga sringara in Kumarasambhava, love between husband and wife is proper in poetry, but only if it is presented with propriety. There is a chasm of difference between this and the Gita-Govinda, which itself is proof of the dangers of prevarication in poetry and poetic meaning.  Ironically, it was Jayadeva himself who praised Kalidasa as Kavikulaguru.

If love between wife and husband is sringara in fullness, the highest form of sringara is between jeevatma and paramatma, and transcends rati bhava. It is a pure spiritual love, that is selfless in nature and seeks nothing for itself.

No man better captured that than the Kavikulguru of Kaviltha. Banabhatta, author of the Kadambari exclaimed:

“Who is not delighted when Kalidasa’s perfect verses spring forth in their sweetness, like honey-filled clusters of flowers?”[7]

Legacy

“Kalidasa. One of the greatest poets and dramatists in Sanskrit. His chronicle of the kings of the Raghu clan (‘Raghuvamsha’), the great play “Shakuntala’ and other works depict, through many great characters, the highest ideals of life as seen by the ancient people of Bharat.” [2, 1]

The Legacy of Kalidasa is difficult to gainsay and even more difficult to delineate. How to capture his poetic and dramatic contributions to the imagination of a civilization? From the outset itself, he is a man of many contradictions: highly learned yet humble origins, much-married but faithful lover, mastery of poetry but elegant simplicity.

Sanskrit kavya and nataka simply cannot be covered without mention of the Kavi-Kula-Guru. Although his memory has dimmed (and his memorial diminished) in his native Uttarakhand, his admirers in many places have honoured him in various ways.

Kalidasa Academy, Ujjain, Madhya Pradesh

The recently renovated Kalidasa Akademi in his beloved city of Ujjain has a memorial dedicated to him.  An academy of Sanskrit and Sanskriti in his name is all-too-poetic a way to remember this most perfect of poets.

Kalidasa Smarak, Ram Tek, Maharashtra

It is common knowledge that Kalidasa travelled widely. His meanderings throughout the subcontinent are attributed to his search for his first love, resulting in his passing through many lands. One such region is Vidarbha, in modern Maharashtra. The town of Ramtek, near Nagpur, boasts of many temples, and even a memorial to Meghaduta‘s maker. But what is this reason for this place of all places to do so?

“Indeed, it is at Ramgiri, a dwarf hill standing at about 500 ft above the town (Ramtek), where the poet stood and gazed longingly at the sky and thought of Ujjaini and his beloved. The first four lines of Meghdoot give a clear indication of Yaksha living in Ramgiri after his exile. Ramgiri and Ramtek towns have a long historical past. Ramgiri signifies “the hill of Ram” and the name Ramtek means both the hill (tekri in Marathi) of Ram or the place where Ram rested for a while before proceeding down south…

Now a significant question arises how and why Kalidas went to Ramtek from Ujjaini? There is little doubt that the exiled Yaksha is Kalidas himself and Alkapuri is Ujjaini and that Kalidas is pining for his beloved.”

This aligns quite closely to story of the poet’s own life and the Parvati for whom he pined. It also explains why regions throughout India claim Kalidasa as their own:

“Suddenly Parvati disappeared, and he had to face disappointment and frustration of his life’s dream. He travelled far and wide covering long distances which to him to Al[a]ka, Banks of Malini, Kashi, Kashmir, Ujjain, Bengal, Rameshwaram, and Srilanka. Little wonder, if all these places started staking claim for being his birthplace. That is why, Prof. Laxmi Dhar Kalla claims that Kashmir was his birth place, whereas, Shri Hari Prasad Shastri names Vidisha, Dr. A.N. Jha Bihar, Dr. Jagdish Chandra Mathur, Sirsa, and Dr. Vasudev Vishnu, Ujjain, as his birth place.

But his literary works are replete with evidences and legends which prove Garhwal to be his birth place. Whether it is Kumarsambhava or Raghuvansh, Meghdoot, Abhigyanshakuntalam or Vikram Urvasiyam, all describe vividly the folk dances, life style, marriage ceremony etc,of Garhwal. In fact, Himalayas had been his heart beats.” [1]

Kalidasa statue, Shanghai, China

The legendary litterateur has made an impact even beyond Bharatakhanda. Ujjain and Ramtek, are not alone. Shanghai recently unveiled a statue of him. There had previously been a production of the play Shakuntala, which was praised by critics.

While dramas and plays throughout the world have underscored his impact around the world, early Indian cinema intimates his impact within India.

Cinema

Telugu Cinema is widely appreciated for its preservation and promotion of Bharatiya Sanskriti. Whether it is an episode from the Mahabharata in Maya Bazaar or a work of Historical fiction such as Baahubali, TFI has had a longstanding tradition of promoting the Dharmic and Indic.

Mahakavi Kalidasa is no exception.

In fairness, this was actually a remake of an original Kannada movie, Mahakavi Kalidasa. Though the first was a Tamizh sound film which was also followed by a remake. The most recent one again appears to have been produced in Kannada.

While yesteryear Hindi Cinema also managed to make one, it’s worth asking whether today’s Mumbai film industry could so again? Perhaps Bhojpuri, Marathi, and Punjabi might be more up-to-the-task.

Literary Legacy

The Literary Legacy of Kalidasa is most obvious of all. The Galaxy of not only Sanskrit poets but even Desi poets all pay respects to the original poet laureate. The  venerable Maharishis Valmiki and Vyasa presented us with Dharma in the form of poetry, but for Mahakavi Kalidasa, poetry was itself a Dharma. He not only used it skillfully, but responsibly. In catering to our need for sentiment, he wove in the lessons of a civilization.

“In sum, it gives us great aesthetic pleasure to read Kalidasa’s works. His descriptions enthrall us. With him we are in the company of a highly civilized, cultured personality. It is like a flower which, in bloom, spreads its fragrance all around. And a man’s mature, ripened mind and intellect brings pleasure to those around him. In Kalidasa’s creations, we enter the world of people pure in mind and body and who are graceful. We learn here the manner in which man’s nature can reach high, moral levels “ [2, 47-48]

Arguably the greatest commentator of Kalidasa was the Telugu teekakaara, Mallinatha. This vidvaan’s Raghuveeracharita honours Kalidasa’s Raghuvamsa via his 9th canto (which was an homage). He also wrote commentaries on 3 of the Kaviraja’s works.

Scholar P.G.Lalye also observed the following:

“While describing Dilipa, Kalidasa has remarked that Artha and Kama were just like Dharma for Dilipa. Even the pursuit of material pleasures and that of physical pleasures become the acts of Dharma” [5, 115]

“Mallinatha’s comment is self-explanatory. The excellence of Dilipa can be represented thus—Wealth-Administration-Public Welfare-Dharma. Pleasure-Marriage-Progeny-Dharma. Thus Dharma is supreme, the other two are subsidiary to Dharma” [5, 116]

And perhaps that is the most foundational legacy of Kalidasa. In the miasma of this modern era celebrating pre-marital and polyamory, the master of Sringara kavya pedestalised and himself epitomised through his own life, marital love. While today’s young people view relationships as marketing samples, for trial-and-error, to find a chair before the music ends, Uttarakhand’s most celebrated son ceremonialised the semi-divine Yaksha and the divine Sakuntala, who yearned for their spouses:

“Crowning all these pen-pictures of things that are beautiful and sweet in life is Kalidasa’s extolling of a noble culture. What does ‘culture’ mean? It is a sense of decent behaviour-in body and mind; it is the blossoming of the mind and heart to savour the rich and colourful beauty around us—such as the colour and fragrance of flowers which gladden the hearts of one and all. The though, word and action of a man’s mature mind give happiness to others. Besides describing these in a masterly style and imagination, Kalidasa also exhibits his powers of perception while recognizing what we can call as ‘beauty in action & behaviour’. [2, 22]

This, dear reader, is the end purpose of the highest aesthetics.

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References:

1. Bhatt, H.D. Shailesh. The Story of Kalidas. Publications Division, Ministry of Information & Broadcasting. Govt. of India. 2003
2. Pandurangi, K.T., Transl. S.R. Krishnamurthy. Kalidasa. Bangalore: Rashtrotthana Sahitya Trust. 1996
3. Rajan, Chandra. The Complete Works of Kalidasa: Volume One (Poems).Delhi: Sahitya Akademi. 2005
4. Kota, Pandit Venkatachalam (Paakayaji). Chronology of Kashmir Reconstructed. Kollur, Guntur Dt: Sri Ajanta Art Printers. 1955
5. Lalye, P.G. Makers of Indian Literature: Mallinatha. New Delhi: Sahitya Akademi. 2009
6. Devadhar, C.R. Works of Kalidasa: Volume I. Delhi: MLBD. 2010
7. Devadhar, C.R. Works of Kalidasa: Volume II. Delhi: MLBD. 2010
8. Raja, C. Kunhan. Survey of Sanskrit Literature. Delhi: Bharatiya Vidya Bhavan. 1962
9. Jhala, G.C. Kalidasa. Karnavati: Sanskrit Deva Samiti. 1983
10. Krishnamoorthy, K. Kalidasa. New Delhi: Sahitya Akademi. 2017
11. Krishnamachariar, M. History of Classical Sanskrit Literature. Delhi: MLBD. 2016