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Supreme Theme : Srngära or Love
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suffered ; but the ascetic and religious merit of Kanva must surely have saved her life from total ruin. When she had gone through the misery destined for her she was re-united with her husband and happiness came in her life. Dusyanta had nothing to do with the curse incident ; yet he too suffered because he was wedded to Sakuptalā and had to share the consequences of the curse with her. This is the meaning of the sufferings of the lovers in Kālidāsa's art. From the angle of art the story of Dusyanla and Sakuntală is a tale of devoted lovers whose happiness was spoiled for some time by an angry. unfavourable fate ; it is a tale of love plunged into misery by misfortune ; or to use a Shakespearean phrase, it is a story of a pair of starcrossed lovers.'
( 3 ) The character of Kālidāsa's Duşyanta must be considered along with his other dramatic heroes One reason for doing so is that the criticism of Duşyata's character and actions is applicable, more or less, to the other heroes as well. Another reason is, among the literary creations in Sanskrit literature, women are generally shown to be loyal and devoted to their husbands ; on the other hand, the religious and social code permits men to have many wives and as such their loyalty or love for one particular woman appears to be rather suspect. There are some neglected women in Kālidāsa's literature ; but their loyalty is unquestionable. Umā was ready to throw away her life in rigorous austerities in her singleminded love for Siva, Sakuntalā, clad in soiled dusy garment, endured the sorrow of a long separation in her devotion to her husband. Sitā accepted desertion and lonely stay in forest-regions without a word of reproach for her royal husband. Rati proved her undying love for Madana even after he was burnt to ashes. These are women pure in character and devoted to their own husbands. Dhāriņi, Irāvati, Auśinari, Hamsapadikā, these queens had occasions to express their anger or displeasure at the conduct of their king-husbands; but none ever rebelled against her husband or behaved contrary to his wishes. The Indian woman seems to inherit the generosity and tolerance of the mother earth. Kalidasa's portraits of wonen naturally evoke respect, admiration, affection and sympathy. Besides, there is generally a stream of compassion in the minds of male readers for women characters. Except, therefore, for a little displeasure at the neglect of some women in a polygamous social picture, there is not likely to be any adve. rse criticism against the women characters of Kālidāsa.
The critical a'titude to the heroes of Sanskrit drama is, however, different. With a few exceptions like Siva and Rāma and Yaksa heroes of Kālidāsa, particularly of his play', are polygamous. The dramatic story generally shows them falling in love with the young and beautiful heroine when they are already married and have one or two wives, and in the case of Agnimitra, even a child. The herces' talk of love, therefore, appears to be an expression of passion or lust, sometimes quite open to be indecent to modern taste. Thus, the heroes take particular interest in beautiful young women ; they are pleasure-seekers ; bees, ever in search of fresh honey ; loy. ing themselves primarily and their pleasure. How could then one feel any assuranca
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