Appointment with Kalidasa

Author(s): G K Bhatt
Publisher: L D Indology Ahmedabad

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Literary Works
With the pleasures of the wedded couple described, the 'possibility' and the 'birth' (the two meanings of the word, sambhava) of a son were assured. The poem then could end on the obvious poetic suggestion (dhvani) because the rest of the story is known from the established legend; and, moreover, the details are too full of the marvellous elements to attract human interest, which predominates in the story-portion of love and marriage. I am also not inclined to accept the other traditional belief that Kalidasa's depiction of śrngara of the 'parents of the world' provoked strong criticism from lovers of literature and critics; and so, he left the composition of the epic after the eighth canto. This may be a matter of literary taste, which does change with the passage of time. But the view is not consistent with Kalidasa's own outlook on love and life.
The story of the divine love of Siva and Parvati is a symbol of the power of creation which moves, animates and perpetuates the entire Universe. It is in this sense that the mythical couple is to be recognised as the parents of the world. The other-worldly ascetics and yogis would like to burn Käma and destroy the natural passion to ashes, as Siva did in his agitation. But the divinities assure rati and kāma is brought back to life; it is the force of animation and nature's arrangement for the continuation of life in this universe. There is a pleasure and gratification of the body and mind in the fulfilment of love. But it is also true that physical union is not an end in itself. It demands unselfish devotion and hard penance sometimes, as the examples of Parvati and Rati show. When these motives combine there is real fulfilment in the form of a son who will be not only the delight of his parents but also an ornament to the world.
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Kalidasa seems to present this theme of universal love and its deeper significance through a mythical story. And in treating this story with its emphasis on the human angle, Kalidasa's art blooms with Vernal splendour. In the description of the Himalaya, the advent of Spring and Pärvati's severe austerities, poetic imagination and picturesque grace join hands together. The devoted love of Parvati and the heart-rending lament of Rati churn out the tender feelings and pathos of human life. In the disguise of Śiva there is a thrilling dramatic quality, as his own ridicule is the finest example of dramatic irony and humour and of the disarming ability to laugh at oneself. Nature and human emotions match in understanding response to make this story of love a poetic delight. It is said that Kalidasa wrote Raghuvansa after completing the Kumarasambhava. The two epics do not appear to be far separated in time, considering the stamp of maturity discernible in this epic.
4. Raghuvamsa
Raghuvansa is a massive epic in 19 cantos, and, judging by a long-established tradition of literature and of Sanskrit studies, the most admired work of Kalidasa,