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Supreme Theme : Srngära or Love
115
The most relevant question is, again, that of the intention of the poet. And, as in the case of the Vidyadhara-dārikā incident in the Vikramorvašīya, in the Hamsapadikā's song too, critics have not been fully alert in interpreting Kālidāsa's words accurately and in understanding his subtle suggestion. Some one gave an interpretation which delighted the car and satisfied the ego of man; and everybody was apparently charmed. It is true that Duşyanta must not have seen Hamsapadika in her personal apartment for a long time. Her hurt and grief are quite natural and true. And it is also natural that she should complain about her husband's apparent indifference to her. But if her grievance is examined without pre-conceived notions and prejudice one cannot fail to notice that it originates from a personal hurt, the denial of a selfish pleasure, and is tinged with jealousy natural to a woman. There is no reason for the readers and the critics to assume that Hamsapadikā is the sole judge of Duşyanta's behaviour and that her word is final. Do other women in the harem, including Vasumati, complain about Dusyanta's behaviour ?
Kalidasa suggests much more through this song. On analysing carefully the poetic imagery in the song it becomes plain that the 'mango-blossom' is a symbol for Hamsapadikā herself, and 'lotus' for Vasumati. The natural difference between a 'blossom (manjari) and a 'lotus' (kamala) further suggests that Hamsapadikā is in the prime of her youth, yearning for the fructification of her life, as a blossom must naturally develop into a flower and then into fruit. By contrast a 'lotus’ denotes a complete phase of development; Vasumati is a mature woman. The mango-blossom is associated with spring; the lotus is a opened-up flower of all times; this difference also suggests the spring of youth and the advancing day of womanhood, which are to be connected respectively with Hamsapadikā and Vasumati. The pleasure of the 'mangoblossom' is of hot kisses; intoxicating, overwhelming, holding the body and the mind a willing prisoner; by contrast the pleasure of the 'lotus' is only of company vasatimātra, of nearness and understanding affection. These are Hamsapadikā's own words. The question then is, if Duşyanta were a lustful pleasure-seeker, like the proverbial selfish and greedy bee, should he seek Hassapadikā who was bursting with youth and who would give him hot, tantalizing love-response, or should he prefer the elderly Vasumati who could offer him only company and an understanding heart softened with affection ? All critics must agree that Duşyanta does not lack the sense of beauty and love to stumble on a wrong choice ! How can we explain this change in Dusyanta then ? What made him turn to Vasumati in preference to Hamsapadikā ?
In the correct answer to this question we will discover the essence of Dusyanta's mental state and of his psychological transformation. The fact is, Hamsapadikā i revealing a very deep truth about her husband although her personal hurt and sorrow and her youthful inexperience have blinded her to see it; it is that Duşyanta bas turned away from the pleasures of the sex and has prefered the company of a mature mind. Hamsapadika's statement itself is an open answer to the so-called charge that Dusyanta is a selfish, sex-hungry pleasure-seeker. It also shows that the transforma.
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