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Supreme Theme : Srågära or Love
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was nothing objectionable in that from the point of view of religion. The second criticism of the Vidūşaka implies that Dugyanta's attraction for Sakuntalā may be a matter of change of taste', that is temporary, and lacking the permanenzy of a deep soul-stirring emotion. If so, Duşyanta is likely to seduce the innocent girl, and after he had his pleasure desert her; this would be a moral and social crime, ruining the life of a young girl. In reply to this serious criticism Kālidāsa's Duşyanta paints a glowing picture of the incomparable and exquisite beauty of Sakuntalā. The suggestion is that any one in the world would want a girl like Sakuntalā to be permanently his wife; if the utter loveliness of this girl awakened only a momentary lust the person must be an ass, not a human being with eyes, mind and a heart. The artistic suggestion of the entire scene is that Duşyanta's love for Sakuntala is neither against the religious code nor is it shallow and flippant. The Vidūşaka is convinced of Duşyanta's deep feeling and sincerity; and when he learns in further conversation that there are some signs of favourable response from the girl he then says to his royal friend, Take enough provisions with you; it's going to be a long journey.'31
(2) There is another suggestion from the above scene which deserves to be separately worked out. In all Kālidāsa's writings there is no example of a love affair which is either prohibited by decent social custom or which is against the accepted religious code. As a matter of fact, it is not necessary to adopt such an orthodox and holy attitude in the sphere of art. And yet, Kālidāsa observes this rule. It could only meen that Kālidāsa does not want his heroes' actions in love to offend religion. It goes without saying that the poet is trying artistically to guard his heroes against any moral lapse or loose behaviour. The love of Duşyanta for Sakuntalā has been tested prior to its fulfilment by the Vidūşaka; it is thoroughly approved by the sage Kanva; it is further tested by the terrible sufferings of Dusyanta when his memory bligbted by the curse returns; and it is finally blessed by Mārica, the parent of the gods. Even in the case of Agnimitra queen Dhāriņi consents to his marriage with Mālavikā when it is revealed that she is not a maid but a princess in disguise. Here again, the general rule of religion is unconsciously followed. Urvasi is a nymph, a heavenly woman; this is the link of propriety that binds her to the mortal king, PurUravas.
(3) A close scrutiny of Kálidāsa's pictures of love reveals yet another aspect. It does not appear that the love the heroes feel for the beautiful heroines terminate once their passion was satisfied, Love does not appear to be a conquest of beauty to them; so that once they marry the heroines and dump them in their harems they cease to care for them, like some of the Indian state Rulers. On the other hand, the heroes wish from the beginning to marry them legitimately, not have a causal passing affair; and after the marriage install them on the honourable position of the mistress of the palace and the crowned queen. The heroes do not show the slightest tendency to use their authority or the social helplessness of the woman to serve their selfish ends or gratify their momentary fancies. The physical impatience and the mental torture
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