Revival of Hinduism in Kalidasa’s Shakuntala.
KALIDASA, (kaalidaasa), India's greatest Sanskrit poet and dramatist. In spite of the celebrity of his name, the time when he flourished always has been an unsettled question, although most scholars nowadays favor the middle of the 4th and early 5th centuries A.D., during the reigns of Chandragupta II Vikramaaditya and his successor Kumaaragupta. Undetermined also is the place of Kaalidaasa's.
Abhijnanashakuntala, (Sanskrit: “The Recognition of Shakuntala”) drama by Kalidasa composed about the 5th century ce that is generally considered to be the greatest Indian literary work of any period. Taken from legend, the work tells of the seduction of the nymph Shakuntala by King Dushyanta, his rejection of the girl and his child, and their subsequent reunion in heaven.
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Kalidasa's The Recognition of Shakuntala is the story of how the king, Dushyanta, meets and secretly marries Shakuntala, the daughter of a sage. When he leaves, he gives her his ring, but she loses.
SHAKUNTALA. By Kalidasa. 2011 Maharaj Mukherjee Kalidasa: Who is he? Kalidasa is an Indian playwright who was born in the 4th century A.D. He died during the Gupta Empire, possibly in Ujjain Sri Lanka. Kalidasa is a classical sanskrit writer, widely regarded as the best dramatist and poet of Indian literature. Not much is known about his early life.
Raja Dushyanta is out hunting in a nearby forest happens upon an attractive maiden, named Shakuntala, and instantly falls in love with her. He gives Shakuntala his ring as a symbol of his affection and commitment to marry. But upon his return to the kingdom, the Raja has an attack of amnesia. Shakuntala seeks him out, but loses the ring in a lake and cannot convince him of who she is.
IMPACT OF KALIDASA ON THE WEST. He wrote a lengthy essay about Shakuntala, challenging the Aristotelian dramatic theory by which all dramatic works were evaluated upto that time. Herder also reevaluated his conceptions about Indian art in light of Shakuntala and concluded that the Greek model was not the absolute model in art. Samtliche Werke, cited from Translating the Orient, 13-14.