Appointment with Kalidasa

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

Page 98

World of Thought
Pandita-Kausikī says in the Malavikāgnimitra that, the principal thing about the science of drama is the value of stage-representation'.95 Bharata describes drama as 'visual poetry' (diśya-kavya.) Natya or drama is literature, so far as the story, the development of the plot through different scenes, and the dialogue in prose and verse are concerned. But drama is equally an article of stage, and its theatric representation involves skillful use of different kinds of abhinaya and of the art of presentation. A dramatist, to be successful, will have to be careful about both these aspects of drama. Perhaps the stage aspect is more important, because drama is not a piece of literature to be read in privacy like a poem or a story, but an experience to be visualised on a theatre stage with the mass of humanity. This implies that a drama leaning heavily on the literary side may miss the stage values, and thereby become only a literary composition in dialogue form' (prabandna). On the other hand, a drami using all possible gadgets of successful stage performance may not have the depth of literature, and in that case it will be worthless as an experience. All students of Sanskrit drama know how in later days drama turned into a clever literary exercise using the same mechanical devices and patterns, losing in the attempt its value as performing art. The important thing is to achieve a nice balance between the literary and the stage aspects of drama. Kālidasa's perception of these values and his own accomplishment in the art of drama by their conscious use establish him as a great dramatist,
The Sūtradhāra about to present the Śakuntala to the assembled gathering says with apparent diffidence, 'I cannot consider my special knowledge of drama production to be really well unless the learned (the experts) are completely satisfied. '96 If Kalidāsa said this when he wrote and presented his mastarpiece, the remark certainly shows his benign modesty. But it is possible to interpret the remark from a literary angle and get additional meaning out of it. The learned critics, the experts, are the final authority in judging the merit of a dramatic or literary work. And this means that literature is not only the self-expression of a creative artist; it is also a communication. And so, the canons of appreciation and assessment cannot be disregarded. A gifted and inspired writer my create new standards and forge new forms or trends Yet it cannot be denied that a creative piece of literature is as much for the delight and satisfaction of the artist himself as it must evoke similar response or satisfaction and pleasure from the discerning reader and the learned critic. The remark, thus implies that Kālidāsa knew and accepted the value of literature as a comunication.
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Looking into thoughts of Kālidāsa on different aspects of life it is now possible for us to have some idea about his outlook on life and the values he accepted. In regard to religion and religious philosophy, social laws and the ideology behind thein. Kalidasa's attitude is of acceptance of the given framework. The historical background on which Kālidasa created his literature may have made such an attitude inevitable or necessary. Even then the personal note is clear. Kalidasa