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Literary Works
yearning for her, Śakuntalā suffers heavily the pangs of love. Her companions decide to help her. They prevail upon Sakuntalā to write a letter of love. In a moving poetic scene in the third act Kālidāsa brings the lovers together who open their hearts to each other in the presence of Sakuntala's companions. Duşyanta removes any doubt from Sakuntala's mind by promising that she will be the pratisthā, the glory and the stability of his family and proposes gândharva marriage.
The fourth act shows that Duşyanta and Sakuntala are married. Dusyanta's religious duty in the aśrama is over. He gives his ring to Śakuntalā and returns to his Capital, promising to send an escort for her within a few days. Unfortunately, on the very day of Duşyanta's departure, and as Śakuntalā is experiencing the first pangs of separation and is lost in her own grief, Durvāsas arrived in the hermitage uninvited; and because sakuntalā fails to notice his arrival curses her that her husband will not remember her. Anasuya and Priyamvadā somehow pacify the angry sage and he concedes that the curse would cease to operate at the sight of a 'token or recognition' (abhijñana). The girls feel that Dusyanta's ring which is in possession of Śakuntalā will with hold the effect of the curse, They keep the incident of the curse a secret but advise Sakuntala to take care of the ring.
Kanva has now returned from his pilgrimage. He comes to know of Śakuntala's marriage through an incorporeal voice in the fire-sanctuary; congratulates his daughter for the choice of her husband as both are extremely worthy and perfectly matched, and promptly makes arrangements to send Sakuntalā to her husband's house. The main scene of the fourth act is one of the finest poetic interludes imaginable. It is a scene of parting, a married daughter leaving her parental home. All the soft and silken emotions of the human heart come out on this occasion; even Kanva finds it difficult to check the rising tide of his own emotions; but everything is held in superb control and the auspicious occasion of a daughter's daparture is not allowed to be dissolved in tears and sorrow. Nature also joins the farewell, not only by giving Sakuntalā precious wedding gifts but also by shedding silent tears at the departure of this daughter of nature, a mother to the creepers as to the young deer, a sister to the trees, and a beloved relation of the whole nature. Kaņva gives some wholesome advice to his daughter, removes her imaginary fears at the loss of the parental home, and prepares a solemn message to be delivered to Duşyanta. The party leaves.
The beginning of the fifth act and the song of Haṁsapadikā is a warning that the curse has affected Duşyanta's memory. As we know a little later, Sakuntalā has lost the ring on her way and is without any means to convince Duşyanta of her marriage to him and to revive his lost memory. When the āśrama party arrives, Duşyanta is completely puzzled. The young woman standing before him, far advanced in pregnancy, claims to be his wedded wife; but he has no recollection of any such happening; the Vid üşaka is not with him; and the statements of the party do not produce any conviction; Śakuntalā herself is unable to give any evidence to support
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