ABHIJNANA SHAKUNTALAM: CHARACTER ANALYSIS (Part 2)

 

Duhsanta

The Nayak or the Hero is the main protagonist of the play. Heroes in Sanskrit drama belonged to the upper castes such as Brahmins or Kshatriyas. Since these figures embodied the vira rasa, they had to be handsome without any disfigurements, be intelligent, daring, and filled with courage and fortitude, making such men worthy of the heroic mantle. Duhsanta, the King of the Puru clan in the city of Hastinapur, is an ideal hero, loved and venerated by everyone in the kingdom, even by the ascetics in the secluded Hermitage. As a king, Duhsanta is the upholder of Law, and it is his scared duty to maintain order in his kingdom and protect his subjects. The hermits who come to request Duhsanta to protect the ritual in Act II compare him to a Royal Sage, who has the qualities of a king as well as a holy sage.

How admirable! His person radiates such majesty; yet one feels at ease. But that is not surprising in a king who is almost a sage. (p. 194)

What wonder then that this heroic King

with arms strong as massive iron beams

that bar the city’s great gates should hold

single sway over the all supporting Earth

bounded by the dark – blue oceans? (p. 195)

Thus, Duhsanta is presented to us as an extremely likeable character that can do no wrong. Therefore, we are not surprised when Shakuntala begins to have feeling for the disguised king after their very first meeting. However, when we further analyse his actions we realise that he is a product of a patriarchal Brahminical order and follows the rules prescribed therein at the cost of hurting others such as the animals he hunts or his other wives whom he ignores.

The play opens with the King chasing a beautiful blackbuck, wreaking havoc in the scared forest so much so that a scared elephant runs amok in the forest causing more destruction. Duhsanta only stops when the ascetics request him to. In the pursuit of the deer, Duhsanta forgets his duty to protect the weak and creates fear instead. The metaphor of the hunt can be applied to his pursuit of Shakuntala as well when he hides behind a tree to observe her much like how a hunter would observe its prey. His initial appreciation of Shakuntala is purely physical. He is enchanted by her beauty and demure mannerisms, which are so different from the women in the court. Even Madhavya comments and ridicules Duhsanta’s sudden desire for the “taste of the sour tamarind” in contrast to the sweet delicacies available at the court. Nonetheless, Duhsanta first confirms Shakuntala’s caste before beginning wooing her. As such we can see how the king is acutely aware of caste positions and doesn’t dare to upset them even when it comes to love. Duhsanta’s Ghandharva marriage is another example of the king neglecting his duty and forgetting his heroic conduct.      

 

Duhsanta: Many are the daughters of sages,

 married by the Gandharva rite, we hear;

 and once married, felicitated

 with joyful acceptance by their fathers. (p. 209)

Even though this type of marriage is allowed it is never the less a marriage whose legitimacy can be challenged and it is later on in the play. Furthermore, Duhsanta is in such a hurry to marry and consummate the marriage with Shakuntala that he does not wait for Kanva to return and also neglects to inform Kanva or even Gautami about it. This as we see is crucial in leaving Shakuntala without any material witnesses to prove her marriage to him.

Duhsanta: Are you saying that this lady is already married to me? … O, hermits, rich in holiness, try as I might, I cannot recall to my mind accepting the hand of this lady in marriage at any time. Seeing that she is plainly pregnant, how can I receive her when I have doubts about being the husband? (p. 237)

 

Duhsanta’s repudiation of Shakuntala provides us with yet another glimpse into the man. Since the curse has made him forget Shakuntala, he refuses to acknowledge her and the unborn child, calling her a cuckoo for trying to pass of another man’s child as his. He further insults her by insinuating that all women are sly and cunning.

 

Ascetic matron, listen:

 intuitive cunning is seen even in females

of lower creatures: what then of those

endowed with reason and understanding:

the cuckoo, as we know, has her young reared

by other birds before they take to the air. (p. 239)

We can excuse Duhsanta’s memory loss but we cannot excuse his harsh and gender based rejection.

Perish the sinful thought,

Why are you out to sully your family’s honour,

and to make me fall; you are like a river

that crumbles its banks to muddy its crystal stream,

 and uproots the tree growing by its edge. (p.238)

Even as Duhsanta regrets his actions later when his memory is restored, such remorse seems lacking in sincerity if this is how Duhsanta behaves with women in general. Kalisada has portrayed a king whose actions are not above criticisms and thus provides us with a nuanced depiction of a hero that allows for a reconsideration of the hero figure.

 

 

Madhavya

The jester is a stock figure in Sanskrit drama and is portrayed here by Madhavya. He is Duhsanta’s constant companion and friend and is the only other character from the world of Hastinapur who knows about Shakuntala. Madhavya is depicted as a frail, hunchback with a staff, weak because of the physical strains of following the king in his hunts. He is thus a perfect foil to the handsome king. Madhavya’s role as the jester is not limited to providing witty humour that highlights the flaws of the people around him. He is also Duhsanta’s friend and confidant. He provides a helpful ear to the king, who unburdens himself on Madhavya, giving advice as well as providing solutions. Their friendship is so close that Duhsanta sends Madhavya in his stead for the completion of his mother’s ritual. It is to Madhvya that Duhsanta reveals his true self and feelings.

O, this cruel play of Fate: I am reduced to a state of such misery;

and why – because I am the friend and constant companion of the King –

he is obsessed with the chase. …

Then, what happened – as my ill - luck would have it, he chanced upon a beautiful hermit-girl – Shakuntala is the name. From that moment, Sirs, the very idea of returning to the Capital finds no place in his thoughts. (p. 187)

Despite being the King’s friend, Madhavya does not shy away from poking fun at the love sick king, even interrogating Duhsanta’s desire for Shakuntala or satirically reminding him of his duties. Thus, Madhavya provides comic relief in the play that would otherwise become too serious. His words show his witty humour, which does not mock anyone. Perhaps this is why Duhsanta, despite being the king, is indulgent of his friend and does not mind Madhavya’s humourous taunts, at himselfor others.