Shakuntala (play)

Shakuntala, also known as The Recognition of Shakuntala, The Sign of Shakuntala, and many other variants (Devanagari: अभिज्ञानशाकुन्तलम्, IAST: Abhijñānaśākuntalam), is a Sanskrit play by the ancient Indian poet Kālidāsa, dramatizing the story of Shakuntala told in the epic Mahabharata. best of Kālidāsa's works.[1] Its exact date is uncertain, but Kālidāsa is often placed in the 4th century AD.[2]

Shakuntala Looking Back to Glimpse Dushyanta, scene from Shakuntala painted by Raja Ravi Varma

Origin of Kālidāsa's play

Plots similar to the play appear in earlier texts. There is a story mentioned in the Mahabharata. A story of similar plot appear in the buddhist Jataka tales as well. In the Mahabharata the story appears as a precursor to the Pandava and Kaurava's lineages. In the story King Dushyanta and Shakuntala meet in the forest and get estranged and ultimately reunited. Their son Bharata laid the foundation of the dynasty that ultimately led to Kauravas and Pandavas.[3][4][5][6]

Title

Manuscripts differ on what its exact title is. Usual variants are Abhijñānaśakuntalā, Abhijñānaśākuntala, Abhijñānaśakuntalam and the "grammatically indefensible" Abhijñānaśākuntalam.[7] The Sanskrit title means pertaining to the recognition of Shakuntala, so a literal translation could be Of Shakuntala who is recognized. The title is sometimes translated as The token-for-recognition of Shakuntala or The Sign of Shakuntala. Titles of the play in published translations include Sacontalá or The Fatal Ring and Śakoontalá or The Lost Ring.[8][9] A more recent translation by Barbara Stoler Miller (1984) was entitled Sakuntala and the Ring of Recollection.

Synopsis
See also: Shakuntala
Crying of Shakuntala

The protagonist is Shakuntala, daughter of the sage Vishwamitra and the apsara Menaka. Abandoned at birth by her parents, Shakuntala is reared in the secluded hermitage of the sage Kanva, and grows up a comely but innocent maiden.

While Kanva and the other elders of the hermitage are away on a pilgrimage, Dushyanta, king of Hastinapura, comes hunting in the forest. Just as he was about to slay a deer, Vaikhānas, a sage obstructs him saying that the deer was from the hermitage and must not be slayed. He politely requests the king to take his arrow back. The king follows what the sage said. The sage then informs that they are going to collect firewood for the sacrificial fire and asks him to join them. They then spot the hermitage of Sage Kanva and decide to pay the hermits a visit. However the king decides to go to this penance grove dressed up as a commoner. He also stops the chariot farther away to not disturb the hermits.The moment he enters the hermitage and spots Shakuntala, he is captivated by her, courts her in royal style, and marries her. Soon, he has to leave to take care of affairs in the capital. She is given a ring by the king, which will eventually have to be presented to him when she appears in his court to claim her place as queen.

One day, the anger-prone sage Durvasa arrives when Shakuntala is lost in her thoughts, and when she fails to attend to him, he curses her by bewitching Dushyanta into forgetting her existence. The only cure is for Shakuntala to show the king the signet ring that he gave her.

She later travels to meet him, and has to cross a river. The ring is lost when it slips off her hand as she dips it in the water playfully. On arrival the king is unable to recognize the person he married and therefore refuses to acknowledge her. Shakuntala is abandoned by her companions who declare that she should remain with her husband. They then return to the hermitage.

Fortunately, the ring is discovered by a fisherman in the belly of a fish, and presents it in the king's court. Dushyanta realizes his mistake - too late. The newly wise Dushyanta is asked to defeat an army of Asuras, and is rewarded by Indra with a journey through heaven. After returning to Earth years later, Dushyanta finds Shakuntala and their son by chance, and recognizes them.

In other versions, especially the one found in the 'Mahabharata', Shakuntala is not reunited until her son Bharata is born, and found by the king playing with lion cubs. Dushyanta meets young Bharata and enquires about his parents, and finds out that Bharata is indeed his son. Bharata is an ancestor of the lineages of the Kauravas and Pandavas, who fought the epic war of the Mahabharata. It is after this Bharata that India was given the name "Bharatavarsha", the 'Land of Bharat'.[10]

Reception

By the 18th century, Western poets were beginning to get acquainted with works of Indian literature and philosophy. Shakuntala was the first Indian drama to be translated into a Western language, by Sir William Jones in 1789. In the next 100 years, there were at least 46 translations in twelve European languages.[11]

Sanskrit literature
See also: Sanskrit literature

Introduction in the West

Sacontalá or The Fatal Ring, Sir William Jones' translation of Kālidāsa's play, was first published in Calcutta, followed by European republications in 1790, 1792 and 1796.[8][12] A German and a French version of Jones' translation were published in 1791 and 1803 respectively.[12][13][14] Goethe published an epigram about Shakuntala in 1791, and in his Faust he adopted a theatrical convention from the prologue of Kālidāsa's play.[12] Karl Wilhelm Friedrich Schlegel's plan to translate Shakuntala in German never materialised, but he did however publish a translation of the Mahabharata version of Shakuntala's story in 1808.[15] Goethe's epigram goes like this:[16]

Wilt thou the blossoms of spring and the fruits that are later in season,
Wilt thou have charms and delights, wilt thou have strength and support,
Wilt thou with one short word encompass the earth and the heaven,
All is said if I name only, [Shakuntala], thee.

Education in British India

Shakuntala was disapproved of as a text for school and college students in the British Raj in the 19th century, as popular Indian literature was deemed, in the words of Charles Trevelyan, to be "marked with the greatest immorality and impurity", and Indian students were thought by colonial administrators to be insufficiently morally and intellectually advanced to read the Indian texts that were taught and praised in England.[17]

Unfinished opera projects
See also: Sakuntala (opera)

When Leopold Schefer became a student of Antonio Salieri in September 1816, he had been working on an opera about Shakuntala for at least a decade, a project which he did however never complete.[18] Franz Schubert, who had been a student of Salieri until at least December of the same year, started composing his Sakuntala opera, D 701, in October 1820.[18][19] Johann Philipp Neumann based the libretto for this opera on Kālidāsa's play, which he probably knew through one or more of the three German translations that had been published by that time.[20] Schubert abandoned the work in April 1821 at the latest.[18] A short extract of the unfinished score was published in 1829.[20] Also Václav Tomášek left an incomplete Sakuntala opera.[21]

New adaptations and editions

Kālidāsa's Shakuntala was the model for the libretto of Karl von Perfall's first opera, which premièred in 1853.[22] In 1853 Monier Monier-Williams published the Sanskrit text of the play.[23] Two years later he published an English translation of the play, under the title: Śakoontalá or The Lost Ring.[9] A ballet version of Kālidāsa's play, Sacountalâ, on a libretto by Théophile Gautier and with music by Ernest Reyer, was first performed in Paris in 1858.[21][24] A plot summary of the play was printed in the score edition of Karl Goldmark's Overture to Sakuntala, Op. 13 (1865).[21] Sigismund Bachrich composed a Sakuntala ballet in 1884.[21] Felix Weingartner's opera Sakuntala, with a libretto based on Kālidāsa's play, premièred the same year.[25] Also Philipp Scharwenka's Sakuntala, a choral work on a text by Carl Wittkowsky, was published in 1884.[26]

Bengali translations:

Tamil translations include:

  • Abigna Sakuntalam (1938) by Mahavidwan R.Raghava Iyengar. Translated in sandam style.

Felix Woyrsch's incidental music for Kālidāsa's play, composed around 1886, is lost.[27] Ignacy Jan Paderewski would have composed a Shakuntala opera, on a libretto by Catulle Mendès, in the first decade of the 20th century: the work is however no longer listed as extant in overviews of the composer's or librettist's oeuvre.[28][29][30][31] Arthur W. Ryder published a new English translation of Shakuntala in 1912.[32] Two years later he collaborated to an English performance version of the play.[33]

Alfano's opera
Main article: Sakùntala

Italian Franco Alfano composed an opera, named La leggenda di Sakùntala (The legend of Sakùntala) in its first version (1921) and simply Sakùntala in its second version (1952).[34]

Further developments

Chinese translation:

Fritz Racek's completion of Schubert's Sakontala was performed in Vienna in 1971.[20] Another completion of the opera, by Karl Aage Rasmussen, was published in 2005[35] and recorded in 2006.[19] A scenic performance of this version was premièred in 2010.

Norwegian electronic musician Amethystium wrote a song called "Garden of Sakuntala" which can be found on the CD Aphelion. According to Philip Lutgendorf, the narrative of the movie Ram Teri Ganga Maili recapitulates the story of Shakuntala.[36]

In Koodiyattam, the only surviving ancient Sanskrit theatre tradition, prominent in the state of Kerala on India, performances of Kālidāsa's plays are rare. However, legendary Kutiyattam artist and Natyashastra scholar Nātyāchārya Vidūshakaratnam Padma Shri Guru Māni Mādhava Chākyār has choreographed a Koodiyattam production of The Recognition of Sakuntala.[37]

A production directed by Tarek Iskander was mounted for a run at London's Union Theatre in January and February 2009. The play is also appearing on a Toronto stage for the first time as part of the Harbourfront World Stage program. An adaptation by the Magis Theatre Company featuring the music of Indian-American composer Rudresh Mahanthappa had its premiere at La MaMa E.T.C. in New York February 11–28, 2010.

Notes
  1. Quinn, Edward (2014). Critical Companion to George Orwell. Infobase Publishing. p. 222. ISBN 978-1438108735.
  2. Sheldon Pollock (ed., 2003) Literary Cultures in History: Reconstructions from South Asia, p.79
  3. Debroy, B. (2015). The Mahabharata. Penguin Books Limited. p. 101. ISBN 978-81-8475-388-2. Retrieved 2019-07-26.
  4. Satyamurti, C.; Doniger, W.; Dharwadker, V. (2015). Mahabharata: A Modern Retelling. W. W. Norton. p. 49. ISBN 978-0-393-24645-2. Retrieved 2019-07-26.
  5. Automation, Bhaskar (2019-06-13). "महाभारत की शकुंतला और कालिदास के अभिज्ञान शाकुंतलम का किया चित्रण". Dainik Bhaskar (in Hindi). Retrieved 2019-07-26.
  6. dasa, K.; Vasudeva, S. (2006). The Recognition of ShakÂœntala. Clay Sanskrit Library. NYU Press. pp. 20–21. ISBN 978-0-8147-8815-8. Retrieved 2019-07-26.
  7. Stephan Hillyer Levitt (2005), "Why Are Sanskrit Play Titles Strange?" (PDF), Indologica Taurinensia: 195–232, archived from the original (PDF) on 2011-07-22
  8. Jones 1789.
  9. Monier-Williams 1855.
  10. Apte, Vaman Shivaram (1959). "भरतः". Revised and enlarged edition of Prin. V. S. Apte's The practical Sanskrit-English dictionary. Poona: Prasad Prakashan.
  11. Review of Figueira's Translating the Orient: The Reception of Sakuntala in Nineteenth-Century Europe at the complete review website.
  12. Evison 1998, pp. 132–135.
  13. Jones 1791.
  14. Jones 1803.
  15. Figueira 1991, pp. 19–20.
  16. Mueller, Max A History Of Ancient Sanskrit Literature
  17. Viswanathan, Gauri (1989). Masks of Conquest: Literary Study and British Rule in India. Oxford University Press. pp. 5–6.
  18. Manuela Jahrmärker and Thomas Aigner (editors), Franz Schubert (composer) and Johann Philipp Neumann (librettist). Sacontala (NSE Series II Vol. 15). Bärenreiter, 2008, p. IX
  19. Margarida Mota-Bull. Sakontala (8 june 2008) at www.musicweb-international.com
  20. Otto Erich Deutsch, with revisions by Werner Aderhold and others. Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge. (New Schubert Edition Series VIII: Supplement, Vol. 4). Kassel: Bärenreiter, 1978. ISBN 9783761805718, pp. 411–413
  21. Boston Symphony Orchestra Twenty-Third Season, 1903–1904: Programme – pp. 125–128
  22. Allgemeine Zeitung, No. 104 (Thursday 14 April 1853): p. 1662
  23. Monier-Williams 1853.
  24. Gautier 1858.
  25. Hubbard, William Lines (1908). Operas, Vol. 2 in: The American History and Encyclopedia of Music. Irving Squire, p. 418
  26. § "Works without Opus Number" of List of works by Philipp Scharwenka at IMSLP website
  27. Felix Woyrsch – Werke at Pfohl-Woyrsch-Gesellschaft website
  28. Riemann, Hugo (editor). Musik-Lexikon, 7th edition. Leipzig: Hesse, 1909, p. 1037
  29. List of works by Ignacy Jan Paderewski at IMSLP website
  30. Małgorzata Perkowska. "List of Works by Ignacy Jan Paderewski" in Polish Music Journal, Vol. 4, No. 2, Winter 2001
  31. Catulle Mendès at www.artlyriquefr.fr
  32. Ryder 1912.
  33. Holme & Ryder 1914.
  34. Background to the opera from The Opera Critic on theoperacritic.com. Retrieved 8 May 2013
  35. Sakontala (score) at Edition Wilhelm Hansen website
  36. Ram Teri Ganga Maili Archived 2011-12-28 at the Wayback Machine at Notes on Indian popular cinema by Philip Lutgendorf
  37. Das Bhargavinilayam, Mani Madhaveeyam"Archived copy". Archived from the original on 2008-02-15. Retrieved 2008-02-15.CS1 maint: archived copy as title (link) (biography of Guru Mani Madhava Chakyar), Department of Cultural Affairs, Government of Kerala, 1999, ISBN 81-86365-78-8
gollark: You don't get IPMI in nonserver stuff mostly.
gollark: Well, it would be "using" cats if it involved strapping cameras to cats or something.
gollark: True, true.
gollark: Additionally, imagine not using JPEG XL.
gollark: <@!336962240848855040> Is it a surveillance botnet *for* cats, or *using* cats?

References
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.