DELVING INTO TRADITION AND NARRATIVE: AN ANALYSIS OF

CULTURAL SIGNIFICANCE

A Project Submitted to

The Department of English,

Raiganj Surendranath Mahavidyalaya,
For Partial Fulfilment of the Requirements for the Degree of
Bachelor of Arts

Submitted by
Rajat Singha

Semester: VI
Roll No.: 2521 ENGH
Exam No.: 0686
Registration No.: 251-1112-0278-21

Under the Supervision of

Tinku Das
Assistant Professor
Department of English, RSM

Raiganj Surendranath Mahavidyalaya

Uttar Dinajpur - 733134
 Acknowledgment

I would like to take this opportunity to express my heartfelt gratitude to everyone who has

supported me throughout this journey of completing my project. First and foremost, I am

deeply thankful to my advisor, Tinku Das, for his invaluable guidance, patience, and

encouragement at every stage of this research. His expertise and insights have been a great

source of motivation, helping me refine my ideas and improve the quality of my work.

Without his constant support, this project would not have been as strong as it is today.

I am also grateful to my colleagues and friends who have always been there to offer their

encouragement and valuable feedback. Their suggestions and discussions have helped me see

things from different perspectives and improve my work. A special thank you to my family

for their unconditional love, patience, and support. Their belief in me has given me the

strength to keep going, even during challenging times. Their encouragement has been a pillar

of support throughout this journey.

Lastly, I would like to sincerely acknowledge Raiganj Surendranath Mahavidyalaya for

providing me with the necessary resources and a supportive environment to carry out my

research. Having access to such a space has been crucial in shaping this project. This work

would not have been possible without the encouragement, guidance, and support from all

these amazing people. I am truly grateful for each and every one of you. Thank you all for

being a part of this journey.

Signature of the Student Signature of the Supervisor

 Abstract

The greatest Sanskrit maestro, Mahakavi Kalidas wrote Abhigyan

Shakuntalam nearly 2,500 years ago. This immortal love story is also the

bedrock foundation of India's rich socio-cultural edifice. The story has been

described in the form of a play. The dialogues are full of romance, thrill and zest

for life. Two young persons-Dushyant and Shakuntala -fall in love with each

other in the lap of nature. Then comes separation. Finally, they unite, thanks to

the ring that is found by a fisherman under the most weird circumstances. This

ring was given by Dushyant to Shakuntala and lost by the latter.A love tale has

never been so finely described by any other Sanskrit scholar. Kalidas was one

of the navratnas of emperor Vikramaditya. He has used fine Sanskrit verses to

push the story ahead at a fast pace. Dialogues are terse, in context with the story

and heart-piercing, especially the romantic ones between Shakuntala and

Dushyant.This classical play has been staged in various parts of the world. It

has also been translated in many global languages. Centuries after it was

created, it still remains an enthralling piece of literary perfection. Abhigyan

Shakuntalam is literary perfection! It tells us about our origin which was a fine,

pleasant dream woven in the lap of mythology.

Keywords: Nature, Navaratnas, Classical drama, Love and Separation.

 Contents

Sl. No. Chapter Page No.

1 Chapter 1: Introduction 11

2 1.2 Project Objectives 22

3 1.3 Project Questions 44

4 1.4 Literature Review 66

5 1.5 Project Methodologies 99

6 Chapter 2:
Chapter 2: Analysis
Analysis The
The Enigma
Enigma of
of Identity:
Identity: Finding
Finding 12
12

Belonging in
Belonging in aa Magical
Magical World
World

7 Chapter 3:
Chapter 3: Navigating
Navigating Power:
Power: Good
Good vs.
vs.Evil
Eviland
andthe
the 13
13

Pursuit of
Pursuit of Justice
Justice

8 Chapter 44 :: The
Chapter The Enduring
Enduring Magic:
Magic:Legacy
Legacyand
andImpact 15
Impact 15

9 Conclusion 16
16

10 Bibliography 17
17

11 Plagiarism Certificate 18
18
 CHAPTER – 1

1. INTRODUCTION

Abhijnana-Shakuntalam is a seven act Sanskrit play Written by one of the

greatest poets of India, Kalidas. Literally the meaning of the mane of the play is

The recognition of Shakuntala by a Token. It is the first ever Indian play to be

translated into any western language. Sir William Jones first translated it into

English in 1789. Thus the play is not only one of the best works in Sanskrit

literature, but also in the world literature. Abhijnana-Shakuntalam is a play

based on a story from the Mahabharata. Kalidasa turned the story into an

elegant piece of art by giving it the theme of love, passion, reunion, separation

the same into an elegant work of art with a lot of innovations. The play is not

entirely a pure Sanskrit play, but some elements of some Indian dialects best

known as Maharashtri Prakrit are found. The period in which the play was

written has ever been unknown. It is probably because no evidence has yet been

found on the period of lifetime. But it is assumed that he might have lived in

between 2nd century B.C to 4th century A.D. The play is beautifully intertwined

with the dramatic power and poetic beauty. Kalidas is one of the greatest

classical Sanskrit poets is also universally regarded as the greatest of the

Sanskrit dramatists of ancient India. We have very limited amount of

information about his life and time.But we can have our idea about the period of

his works by the historical references he gave in his writing. The identification
of King Vikramaditya as the poet’s patron in the prologue of Shakuntala refers

to Chandragupta II, which indicates that Kalidas would have lived in the Gupta

Empire near the end of the fourth century. So, we can assume that Kalidasa

wrote sometime between the third and the sixth centuries. The writings of

Kalidasa reveal his attachment to the city of Ujjayini, which is associated with

contemporary Ujjain in the western part of Madhya Pradesh. His versatility as a

poet, dramatists, court person, his modesty, sense of self-respect are often found

in his other works. Such as: Malavikagnimitra, Vikramorvasiya, Abhijnana-

Sakuntala (dramas) and poems like Raghuvamsa, Kumarasambhava and

Meghaduta.Kalidasa’s plays carries notion of pre-modern India and an insider

understanding of court life. His plays are often based on Hindu mythology,

epics, legends usually dealing with gods, kings, cities, palaces, nature etc.

Almost all his plays are centered around a king and his interaction at home with

his royal his conflict between duty and desire. At the sometime his plays are

also concerned royal retinue and outside the palace with mortals and divine

beings examines thE about a woman who seems to exist outside of the proper

courtly circles (as in the case of Shakuntala, who lives in a forest hermitage) or

practically (as in the case of Malavika in Malavikagnimitra, who lives in the

palace as part of the Queen’s retinue, but is thought to be of second-class

status). The king’s romantic interest in each play, then, appears to be in conflict

with his royal identity and responsibility. However, each woman turns out to be

of royal or divine identity. Kalidasa’s plays chart their kings’ courses in a circle
back to identities that are, really, unchanging, but which might be better

understood after the action of the plays has been accomplished.The version of

Abhijinana-Sakuntalam in the famous epic of Mahabharata is slightly different

to the original version. In the Mahabharata version, Sakuntala had to stay apart

from her husband, king Dushyanta, for a very long time. It is only when their

son Bharata was born that Dushyanta found him playing in the forest with a

couple of lion cubs, opening their muth with his bare hands, trying to count their

teeth. Seeing a little boy playing with such courage amongst lions, Dushyanta

becomes curious about the boy and asks him about his parents. The little boy

then takes him to Kanva rishi’s ashram where Dushyanta meets Sakuntala and

remembers everything. This fills upDushyant’s heart with warmth and joy; he

gets reunited with his long lost family and takes his wife and his son back home

in Hastinapur. Bharata is known to be the ancestor of Kauravas and Pandavas,

who partook in the epic war of Mahabharata. It is said that it is after the name of

Bharata that India took its name. India was known as Bharatadesham which

precisely means the land of Bharata. Although, this version is more popular

mythology wise but Kalidasa’s original version is still considered to be the

standard one. Prologue : The play opens with a benediction to the gods and after

the benediction the director and actress are enter the stage. The director

introduces the name of the play as Abhijnana-sakuntalam and asks to treat the

audience with a song about the season summer. She sings so well that the

director is spellbound and forgets why he is on the stage until she reminds the
purpose of their appearance. The prologue ends with the director mentioning

about failing of memory and relates it to the hunting Dushyanta.

1.2. Objective of the Project

The main objective of this project is to study and understand Abhigyan Shakuntalam, the

famous Sanskrit play written by Mahakavi Kalidasa nearly 2,500 years ago. This play is not

just a love story but also an important part of India’s cultural and literary heritage.

Through this project, we aim to explore different aspects of this classic work, including its

themes, characters, language, and impact on literature and society.

One of the key objectives is to analyze how Kalidasa has beautifully described the love story

of King Dushyant and Shakuntala using rich Sanskrit verses. The play is filled with

romance, emotions, and dramatic moments, making it one of the greatest literary creations

of all time. By studying this text, we can understand how Kalidasa used nature, poetry, and

dialogues to bring life to his characters. Another objective is to explore the role of fate and

destiny in the play. The story revolves around love, separation, and reunion, where a lost

ring plays a crucial role in bringing the lovers back together. This project will help us

understand how such elements make the story more interesting and emotionally powerful.

Additionally, this project will examine the influence of Abhigyan Shakuntalam on world

literature. The play has been translated into many languages and performed in different

countries, proving its timeless appeal. It continues to inspire writers, poets, and artists even

today. Lastly, this study will highlight Kalidasa’s writing style, the importance of Sanskrit

literature, and how this play reflects India’s traditions and values. Through this project, we
hope to appreciate the beauty of classical Indian literature and its significance in the modern

world.

1.3. Research Questions:

This project seeks to answer the following questions:

❖ What is the main theme of Abhigyan Shakuntalam?

❖ How does Kalidasa describe the love story of Dushyant and Shakuntala?

❖ What role does nature play in the story?

❖ How does the lost ring contribute to the plot of the play?

❖ What emotions and messages does Kalidasa convey through the dialogues?

❖ How does Abhigyan Shakuntalam reflect Indian culture and traditions?

❖ Why is this play considered a masterpiece of Sanskrit literature?

❖ What are the unique features of Kalidasa’s writing style?

❖ How has this play influenced literature in India and other countries?

❖ Why is Abhigyan Shakuntalam still popular after so many centuries?

1.4. Literature Review

Abhigyan Shakuntalam, written by Mahakavi Kalidasa, is one of the most celebrated

Sanskrit plays in Indian literature. Over centuries, scholars and researchers have

analyzed its themes, structure, cultural significance, and literary brilliance. This

literature review examines the existing studies and interpretations of the play,

focusing on its poetic style, symbolism, historical background, and influence on

world literature.

Many scholars regard Kalidasa as the greatest Sanskrit poet and playwright. Ayyappa

Paniker (1997) highlights that Kalidasa’s works, including Abhigyan Shakuntalam,

are known for their elegant use of metaphors, rich imagery, and deep emotional

appeal. He argues that Kalidasa's poetry blends nature, human emotions, and

philosophical depth, making his works timeless. Similarly, M. R. Kale (1961) points

out that Kalidasa’s Sanskrit is both refined and accessible, appealing to scholars and

common readers alike.

Several researchers have explored the theme of love and separation in the play.

Chandra Rajan (1989) discusses how the love between Dushyant and Shakuntala

represents the ideal yet painful journey of romance. The loss of the ring symbolizes

the imperfections of memory and the trials of destiny. S. K. De (1927) suggests

that the play highlights how fate influences human life, making it one of the earliest

literary works to explore this theme.

The role of nature is another key aspect of the play. Scholars like V. Raghavan (1978)

emphasize that nature in Abhigyan Shakuntalam is not just a setting but a living

entity, reflecting the emotions of the characters. The hermitage, the forest, and even

animals become symbols of love, innocence, and destiny.

Many historians and literary critics believe that Abhigyan Shakuntalam is more than

just a love story—it is a reflection of ancient Indian society. Basham (1954) argues

that the play represents the social values, gender roles, and moral beliefs of the

Gupta era. The portrayal of Shakuntala as a pure, devoted woman aligns with

traditional ideals of womanhood in ancient India.

Additionally, some researchers discuss the connection between Abhigyan

Shakuntalam and the Mahabharata, where the story of Shakuntala and Dushyant

originally appears. S. K. Belvalkar (1929) suggests that Kalidasa modified and

expanded the original story to add emotional depth and poetic beauty, making it a

more refined version.

 The impact of Abhigyan Shakuntalam is not limited to Indian literature. European

scholars like Sir William Jones (1789) translated the play into English, introducing

Kalidasa’s genius to the Western world. Goethe, the famous German poet, was deeply

influenced by the play’s poetic structure and emotional intensity. He famously

praised it, saying:

"Wouldst thou the young year's blossoms and the fruits of its decline,

And all by which the soul is charmed, enraptured, feasted, fed?

Wouldst thou the earth and heaven itself in one sole name combine?

I name thee, O Shakuntala! and all at once is said."

This global admiration led to multiple translations and adaptations of the play in

various languages, theaters, and films. The existing literature on Abhigyan

Shakuntalam proves that it is a masterpiece of Sanskrit drama, rich in poetry,

emotion, and philosophy. Scholars have analyzed its literary style, cultural

background, and influence on both Indian and world literature. Through its

themes of love, fate, and memory, the play continues to resonate with audiences

even today. Further research can explore how modern adaptations and performances

reinterpret its timeless message.

1.5. Methodologies for the Project:

This project will use qualitative research methods to study Abhigyan Shakuntalam in detail.

Since this research is not based on numbers or statistics, it will focus on understanding the

meaning, themes, and impact of the play. The following methods will be used:

❖ The first step will be to closely read the text and understand its meaning. This

involves studying the language, dialogues, and poetic style of Kalidasa. The way he
 describes love, nature, separation, and destiny will be carefully analyzed. The use of

symbols like the lost ring will also be examined to see how they add meaning to the

story. This method will help in appreciating the beauty and depth of Kalidasa’s

writing.

❖ To understand the play better, the project will review books, research articles, and

commentaries written by scholars. Different translations of the play will be compared

to see how its meaning changes in different languages. By reading what experts and

critics have said about Abhigyan Shakuntalam, this method will help in understanding

how people have interpreted the play over time.

❖ Historical and Cultural Context AnalysisIt is important to study the history and culture

of Kalidasa’s time to fully understand the play. This method will explore how the

Gupta era influenced Kalidasa’s writing. It will also examine the social traditions of

ancient India, especially about love, marriage, and destiny. Since the play is connected

to the Mahabharata, this analysis will show how Abhigyan Shakuntalam is not just a

love story but also a reflection of Indian traditions.

❖ This project will also compare Abhigyan Shakuntalam with other classical love

stories. It will look at other Sanskrit plays and even compare it to Western literature,

like Shakespeare’s Romeo and Juliet. By identifying similarities and differences, this

method will highlight what makes Abhigyan Shakuntalam special and unique.

❖ Since the play has been staged worldwide, this project will study how it has been

performed and adapted in different cultures. It will explore how filmmakers,

playwrights, and directors have interpreted the story. This will show how the play

continues to inspire modern art, theater, and cinema.

 ❖ Finally, the project will focus on key themes of the play, such as love and destiny,

separation and reunion, memory and recognition, and the role of nature.

Understanding these themes will help explain why Abhigyan Shakuntalam remains

relevant even today.

Using these methods, this project will provide a deep and meaningful analysis of Abhigyan

Shakuntala.

2. CHAPTER II

2.1. STUDYING ABHIJNANA SHAKUNTALAM AS A HISTORICAL

TEXT.

Abhijnana Shakuntalm is one of the most celebrated texts. It is considered as

the masterpiece of classical Sanskrit literature, translated into various European

languages. It is believed to be composed in an around the fourth to fifth century

CE in India during the Gupta period. The origin of Classical Sanskrit Indian

drama can be traced long before the Gupta period. But the Gupta period saw the

rise of many authors and their literary works. Most literary compositions

traditionally placed during the Gupta period are complex, multilayered works

that display and play with conflicting philosophies of life and art. It was during

the Gupta period that drama seems to have emerged as a sophisticated form of

public literature. Drama represents a generalized view of the world and the

actions of the persons divested of particularities of the character; it does not deal

with the individuals and their specific situations and emotions. The chief goal of
drama is to produce rasa,the aesthetic emotion, evoked by the appropriate mood

built cumulatively through not only words, but also by mimes and gestures,

music and dance, costume and jewellery. Sanskrit drama is therefore the blend

of many elements. The most important feature of Abhijnana Shakuntalam is a

proper fusion of the ideas of gender, womanhood, and romance on a whole.

Also, among the various other male centric works of Kalidasa and even of the

other works of the period Abhijnana Shakuntalam is successful in providing

the hardship of women in a society, especially as being a daughter, an

unrecognized or a discarded wife, and a mother of a son. It is not only the

hardship that is depicted in the text but also the privileges and the source of

satisfaction being enjoyed by a woman over a period of time. The simple life of

women, their innocent playfulness, their frankness of their minds, and above all

their sincere nature also forms an important part of the narration in the text.

Moreover, from the text one can establish the contribution of woman towards

the family and the society. Abhijnana Shakuntalam aims at giving a realistic

picture of life of the people in a more marked degree. However, it is not only the

account of women that is provided in text, the role and contribution of men also

forms an important part of the narration.Kalidasa‟s Abhijnana Shakuntalam

being one of the important literary works is represented in the form of Drama. It

is said that the main characteristics of the classical Sanskrit drama is that the

theme may have been taken from the well known epics, invented or maybe a

combination of the two. The story of Shakuntala is believed to have been epic
story is the source, much altered, for the play. Others have found Kalidasa's

source taken by Kalidasa from the Mahabharata. Some of the scholars have held

that the in the Padmapurana. The most conspicuous proponent of the latter view

is of M. Winternitz whose chief argument is that the Padmapurana story of

Shakuntala is very close in detail to Kalidasa's plot, while the epic version is

rather unlike both, and that consequently Kalidasa must have borrowed from the

Purana and not from the epic. It is, however, made clear by Sarma that the

Anandasrama edition of the Padmapurana does not contain the Shakuntala

episode.A close examination between the epic and Kalidasa‟s version shows a

divergence in the language and the structure but there is a remarkable closeness

in its plot. Apart from Winternitz and Sarma, then, scholars generally hold the

view that Kalidasa took his plot from the Shakuntala episode of the epic,

making very radical changes in it to adapt it to his dramatic purposes. According

to M.B Emereau, One text has borrowed from the other, and considering the

chronological priority of our critically established Mahabharata text to Kalidasa,

we must conclude that Kalidasa has borrowed from the Mahabharata.Romila

Thapar asserts that the earliest narration occurs in the epic, the Mahabharata, in

the form of Kavya/ poetry. An expanded treatment of the narrative is best

known in the play, Abhijnana Shakuntalam by Kalidasa which, although it

borrows the story from the epic, nevertheless differs from it significantly.B S

Miller argues that the Abhijnana Shakuntalam belongs to the nataka category,

and a nataka is characterized chiefly by its subject matter: a “well-known” story,

invariably epic, involving a suitable hero and opposite action.The characteristic

of well known story, invariably epic suggest that Kalidasa‟s version of

Shakuntala being borrowed from epic that is Mahabharata.T. G Mannikar in his

work Kalidasa his Art and Thought writes that before Kalidasa, the story was

given in the Mahabharata, the Padmapurana and a pretty similar story occurs in

the Buddhist Katthari Jataka. The Buddhist story resembles the Mahabharata

story and the Padmapurana appears to be a mixture of Mahabharata and the

poet‟s account, while Kalidasa goes to pick the story from Mahabaharata.

Therefore, it is generally accepted that Kalidasa had borrowed the story of

Shakuntala from Mahabharata, and improved it with his artistic qualities along

with the additions of some new features as per the need of the period.Apart

from the general perception of treating Kalidasa‟s Abhijnana Shakuntalamas a

Drama, it is also considered as one of the important historical text that provides

useful historical information. It is an item of literature, as a narrative, relates to

history,not for what it says which is anyway fictional but for what it might

indicate as being historically significant.As mentioned, the text is a complete

package of history, literature, gender and culture. It has been established that the

text Abhijnana Shakuntalam was composed during the Gupta period in the

form of a drama. It is said that Kalidasa is associated with the great moments of

Gupta period. Kalidasa is always taken as a court poet because of the frequent

mention of court life in his works, where the main protagonist in all his works is

always a king, but the king who patronized him is still unknown and is a
debatable issue among the various scholars. The basic argument is itself

circuitous, in that Kalidasa is associated with the Gupta period in order to prove

the theory of its being the „Golden age‟. Regarding the time period of the

Abhijnana Shakuntalam, it was during fourth to fifth century C.E. when the

Gupta rule flourished in India which formed the background for the play

Abhijnana Shakuntalam. The Gupta period which is also known as the

„Golden Period‟ in the history of India for many reasons and one among them

is that it witnessed the revival of Sanskrit language, arts and literature

flourished. Various works like the Narada, Vishnu, Brihaspati and Katyayana

Smritis, along with Kamasutra and the Amarakosha, were produced during the

Gupta period. Epics and major Puranas were also given final shape in this

period. Kalidasa‟s Abhijnana Shakuntalam is considered as the masterpiece of

Sanskrit literature.It is a perfect blend of romance and fairy tale with elements

of comedy. The fine quality of its form is also one of the important aspects to

make Abhijnana Shakuntalam a popular and a perfect item of literature. The fine

quality of the play in terms of language, and structure, and the evocations of

masterly metaphors, it is not surprising that it has always been held as an

exemplar of Sanskrit drama.Kalidasa‟s Abhijnana Shakuntalam we can see

that he strictly follows and illustrates the essentials of the theory presented by

Bharata in his Natyasastra. The Natyasastra of Bharata is generally considered

to be a compilation of settled traditions rather than an authored work and

roughly contemporaneous with Kalidasa.The theorists recognize at least eight

stages of rasa and ten modes, or genres, of representation which are universal to

animate a play. Among the ten genres, the Nataka is chiefly characterized by its

subject matter: a well-known treated fully, that is, in at least five acts, but not

prolixy, not exceeding ten. Its dominant rasa can be only being the erotic

(srngarasa)or the heroic (virarasa).As per these principles Abhijnana

Shakuntalam is derived from a well known epic that is Mahabharata. The text

which is accounted in the form of a play is divided into seven acts with which it

fulfills the other criterion of Nataka which is not less than five acts and not

more than ten acts. In the context of the third criterion that is rasa B. S. Miller

writes –Kalidasa‟s plays focuses on the critical tension between desire and duty

that is aesthetically manifest in the relation of the erotic sentiment (srngarasa) to

the heroic(virarasa). Therefore, it can be counted in the nataka model. As far as

the structure of the text is concerned, Abhijnana Shakuntalam can be studied

by dividing it into three sections; the categorization can also be made as

according to the theme narrated in the text i.e. the union, separation, and the re-

union. The first section of the text can be seen by bringing the first three acts

together, where we can find the introduction of the main protagonist of the

narration. Shakuntala is introduced as a common woman of the forest, where

she is seen as nurturing and taking care of the plants. While on the other hand

Dushyanta is introduced as a man of power who hunts in the forest, who is

entrusted with the ask of protecting the people and the forest. On a whole, in

this section Shakuntala and Dushyanta meets up, gets united with the
Gandharva form of marriage. Theunion of the lovers by the Gandharva form of

marriage is only after the mutual love. The union is gradual and not a rush

development of love cumulating into marriage. This section of the text gives

rise to series of events which are of great interest, it is a series of happenings

that begins immediately with the introduction and which leads to the other stage

that is the climax. From the above discussion, it is established that Kalidasa

belonged to the Gupta period. When we analyze the work of Kalidasa, it

somehow resembles the Gupta period. The work of Kalidasa thus can be taken

as a source to study the Gupta period. Abhijnana Shakuntalam is in a form of

fine literary work, the narration, structure, language on a whole makes the text a

work of excellence. The dramatic eminence of Kalidasa isreflected in this work

which has been properly explored above. It is because of the excellence of

Kalidasa in his work which makes him renowned beyond the country.

Chapter 3

Conclusion:

This project aims to provide a deep and meaningful understanding of Abhigyan Shakuntalam

by using qualitative research methods. Instead of just summarizing the story, it focuses on

exploring its themes, cultural background, literary beauty, and lasting impact. Through

various methods like textual analysis, literary review, historical and cultural study,

comparative analysis, performance study, and thematic analysis, this research seeks to

highlight why Kalidasa’s play is considered a masterpiece. By closely reading the text, we
can appreciate the poetic beauty, emotional depth, and symbolic elements that make this play

special. Studying the existing research and translations helps us see how Abhigyan

Shakuntalam has been understood in different ways across time and cultures. Exploring the

historical and cultural context allows us to connect the play with the Gupta era’s values,

traditions, and beliefs, showing how it reflects Indian society.

Comparing this play with other classical love stories, both from India and the West, helps us

understand what makes Abhigyan Shakuntalam unique. Studying how the play has been

performed and adapted over the years reveals its influence on theater, cinema, and modern

storytelling. The analysis of themes like love, separation, destiny, and nature further explains

why this play still touches hearts even after centuries.

Overall, this project shows that Abhigyan Shakuntalam is not just an ancient love story but

also a timeless piece of literature that continues to inspire readers, writers, and artists around

the world. By using these qualitative research methods, we can appreciate the richness, depth,

and universal appeal of Kalidasa’s masterpiece. This study helps us understand how literature

can preserve culture, express emotions, and connect generations across time.

Bibliography

• Basham, A. L. The Wonder That Was India. Grove Press, 1954.

• Belvalkar, S. K. Studies in the Mahabharata. Bhandarkar Oriental Research Institute,

1929.

• De, S. K. Sanskrit Poetics as a Study of Aesthetic. University of California Press,

1927.
• Goethe, Johann Wolfgang von. Faust: A Tragedy. Translated by Bayard Taylor,

Harvard University Press, 1950.

• Jones, Sir William. Sacontalá; or, The Fatal Ring: An Indian Drama. Translated by

William Jones, London, 1789.

• Kale, M. R. The Abhijñāna-Śākuntalam of Kālidāsa. Motilal Banarsidass, 1961.

• Paniker, Ayyappa. Medieval Indian Literature: An Anthology, Volume 3. Sahitya

Akademi, 1997.

• Raghavan, V. The Indian Heritage. Bharatiya Vidya Bhavan, 1978.

• Rajan, Chandra. Kalidasa: The Loom of Time. Penguin Classics, 1989.

 Plagiarism Certificate

Declaration of the Candidate:

I, ---------- , Registration No.------------ , Roll No. ____________ hereby declare that I am the

sole author of the project entitled ------------------------- and that neither any part of the thesis

nor the whole of the thesis has been submitted to any University or Institution for obtaining

any degree / diploma / academic award.

I declare, to the best of my knowledge, that my project work is free of any kind of plagiarism

and does not breach upon anyone’s ideas, techniques, copyright, or quotations. The materials

from the work of other people which have been included in my study have been

acknowledged according to the standard reference practices. I declare that this is the

ORIGINAL project which includes final revision as suggested by the thesis adjudicator panel.

I shall be solely responsible for any dispute or plagiarism issue arising out of the project.

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Designation: Student

Department: English

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