Reprinted from Annals of Oriental Research of the University of Madras Volume XXX Part 2 1981 INTERACTION OF NATURE AND CHARACTERS IN KALIDASA “BY Dr. Miss S. MEERAINTERACTION OF NATURE AND CHARACTERS IN KALIDASA* Dr. Miss. S. MEERA Research Assistant Dept. of Sanskrit ‘The universe is a closely interrelated continuum. The creator being both the agent as well as the material of creation, the whole set up is closely knit together and interacts. The same principle is the originator, the material as well as the vivi element. ‘aera targa’ &. 3. 2. BRE FS. 7. aa te ae: a ‘This being so, the physical aspect of nature - scenery, seasons, te, the living aspect of nature ~ plants, animals and the thinking aopect - men all closely interrelate and interact. We can never folate man or extract him from the general set up and exa hs inner aspects. When even as revards physical principles there is a close correlation and interaction, it is more so in the psychological aspect, Since the same atman exists in the physical universe, plant fife, animals and men, there is a common psyct grid in the system of creation which interrelates, affects mutually and sustains the elements and beings. Bearing this in mind, Kilidisa handles nature dexterously and with feeling and succeeds in giving life to his works by apt use of nature in different contexts both in the external and internal aspects of poetic creation, Since each poet has a different world view the way each observe and record nature is different. The very scenery described reflects the character of the poet by the style he employs, the sounds he chooses, the cadence of his diction, the details he * Tulk given at the KSRI on Kalidasa doy 12-10-80ee Se z selects and the similes he conceives of. The difference is all the more marked when he depicts plants or portrays animal. life, The description of a forest for example by Valmiki is sublime. Baga manages io bring out’ the savage prinieval beauty. Bhavebhoti uses the same matter to bring out the poignancy of remembrance, while a poet like BUsravi will consciously try to shine excelling himself in spinning out intricate figures to aid the description. Kalidasa handles nature veriously to suit his various purposes. At times Ke uses it as an embellishment to his style especially in welling on its sublimity, affective sympathetic response, supernal beauty ‘and its sheer nobility. Often he uses svabhavokti to bring out natural life in ite true form. He often uses personification to enbance the beauty of his diction. While changing a topic he {introduces a nature description either to set in the tone or to provide a buffer. He uses pathetic fallacy very frequently to bring out the hapless state of suiferiog characters and their mute dependence on nature. There ate often supernatural qualities ascribed to nature when nature takes up divine qualities and FeSponds outright to human suffering often unexpectedly. Kalidasa’s ature is often true fo life, striking, sublime, intimate, soothing imiles. He ako describes nature for its own sake and ‘elevating. He never portrays the sordid or cruel aspect of nature. While destiny is often depicted as cruel, nature is always benign. A special characteristic of Kalidasa’s style is bis way of mingling nature inextricably in a simile, a situation or a feeling. If one takes out the nature element from the verse the portrayal ceases to make sense. Here nature is uscd in an inevitable organic way rot as a mere exterior embellishment. Whenever Kalidasa describes a scenery he takes care never to be present even as antobserver, By a direct description of the details he brings out an actual picture before us often even without the of characters. Viewing his works as a whole, one sees that Kalida: recognises nature as a factor in stylistic presentation, In all his works large portions are devoted to natural themes. Often to ‘oreate the proper atmosphere of the plot he describes a place at length, He has quick ‘nartative passages on nature as for example all3 Guring hunts in foresis. He also claborates the description or often gives small characteristic vignettes for apt portrayal. He also uses descriptive passages for effective rasa depiction. At times he uses it as an indication to a dramatic situation. The ‘ninth sarga in Raghuvaméa opens in a quick allilerative narrative style with no emotional overtone, with a sketch of spring and the King’s departure for hunt, After describing the forest and the unt, in the 55th yerse the tone changes to prepare for the tragedy of the murder of the hermit boy. Again the hunt is described, now revealing its cruel aspect. Then a brief descr of the picnic in forest follows to emphasise reckless nature of Daéaratha, Then during the night Dafaratha hears the wild herd of elephants and kills unwittingly the innoce:t helpless hermit boy. Verse 75 immediately has a change in metre and we hear the heart-rending scream of the kid. If we take a pleasanter tance, in Kumarasambhava 3rd canto in the description of the ring the initial narrative reflects the sheer joy of the poet's nature observation. Then the reaction of men is introduced, plants are personified, The sole undisturbed person is Siva. Afier Nandi's waraing— ar aioera gfe aoa sua, 3-41. the whole forest was as though petrified froneqag Fraaieth apes aIFTETTATEA | araraareniad Ta a4 feafdares gararaea 11 3-42 When Kama’s last hope is about to be extinguished there appears Parvati decked in vernal flowers, prodding forth as though with her beauty the extinguishing wick of lamp of courage of ‘Manmatha. faalorfaerarert agqaedta agate | gaara ARTA eMRERAA MARTATAT 3-52 Ul Here the phrase @¢7%77 is even more apt as it extends the simile into a rupaka. The verse on the state of the forest afterRy Ey 4 Nandi’s commend acts as an efficient buffer between the £ mood of spring and Pérvat’s beauty. It also enhenct dramatic suspense and heightens the expected appearar Parvati on the scene Kalidasa often describes nature for its own sake f sheer joy of it. Most of his works are permeated by his ac sense of appreciation of natural beauty. In Raghuvame description of Dilipa’s travel to the hermitage through the though short is very picturesque end sublime, (1.38-43) (2. ‘The advent of spring described in Kumarasambhava also genuine appreciation of nature. The description of the Hin should be taken as portrayal of wature as well as st through a character sketch since he is also S40TEHT ar father of Pérvati, possessing human qualities. For described elaborately as a mountain in the 18 opening vei is described also as acting as a father should while bring Parvati delighting in her, worrying about her welfare and In 6th canto Kalidisa hes a tongue in cheek humorous dese of Himavan while he welcomes the divine sages. K himself seems to sense the ridiculous aspect of a mountai: ‘human situation. MIgaPATae: SY Zaare REBT: | soma faretees: gerer ferarfala Ul 6-61 ‘and Himavin praising the sages while weleoming them a 3a6 afte steal aa In Rtusambara, of course, each season Is described splendic its own sake with the proper assonance and metre sui each mood. In dramas there are frequent picturesque desct of hot afternoons as in this verse from Malavikignimitta aeorag dar ggfearaar after ofertat Marae arngehiattaaae reat |5 feahntang: waht fra sPangart adea: aniteafig qeqitaicad gall: 11 2-12 i There are the geographical descriptions in Indumati's svayamvara which are short, exact, selective and picturesque. The description of the ocean and the confluence of Ganga and Yamuna by Rama while coming back to Ayodhya are also descriptions for their ‘own sake. Here descriptions of antarikya - atmosphere are a speciality since this is an aerial flight. Though quick moving the description is apt, picturesque and evocative. 1a has excelled in svabhivokti while describing a horse and also while portraying the parrot Vaifamptyana’s life in the forest. Kalidasa has shown his skill in svabhavokti often by perspicacious observa- tions rather than elaborate descriptions, For example, here is rei YVasistha in meditation: a Ranta ar caafahiastsa: | qoaraatreae) gata gae7 tl 1-73 Ul Or here is Mena dissuading Parvati from: tapas: ag: & ad wT aay ag: | ge aba seer Bea faye’ a ga: Taf: II 5-4 Il Even in Svabhavokti Kalidasa is content only after introducing a simile, Here is the description of the lion in Raghuvaméa 2nd ‘canto. eafiersranfts argreat Sage agra: ager M2 29 Ut For detailed description of animals in naturel habitat méay descriptions of forests afford examples. The description of the deer in Abhijaina Sikuntala is well known. The description of Nandi in Himalayas is very striking: aarawratrer: Gal: waweaine: egTA | ze: wifaqad fafeesdte fea ear 1-56 IlSey 6 In Rtusamhsta Kalidasa describes how due to extremes of heat animals forget their natural enmity and assist each other. Due to common suffering they ignore each other or at times even help one another. “ge aa war eae facta’ WN 1-27 Ul He also describes in exact detail how each season affects each animal and plant. In Sakuntala we see Dusyanta’s spirit of nature conservation when he holds forth with genuine affection and concern that all animals should enjoy peacefully their natural habitat. ‘arerat afbarfaaaafee ? etc. II 2-6 1 Here we observe Kalidisa’s natural compassion for wild life, In Vikramorvasiya he portrays the domestic felicity of an elephant couple. saafataTa Gage Haag Gea | afieag araqeageed aeehiT Ml 4-44 I also comparing the deer and forest, Bo aeeahalal ced sive | FAUST FA FA TAA: MN 4-57 I On the whole Kalidasa’s svabhavokti is true to life, keen in observation and selection and evocative. In his ardour for exact imitation he never loses the evocative, sublime aspect of creation, He does not hesitate to introduce the flavour of a simile rendering it at times even exotic though truthful and apt, Nature is more usually used for poetic purposes either as an embellishment of style or for thematic portrayal. The similes of Kalidasa are of such renown that they need not be praised all over again. He uses nature imaginatively and aims et an arti effect rather than an obvious tame comparison. While desctibing7 the taxes of King Dilips, he employs the natural phenomenon of the sun producing rain ‘ellingly: ‘meagmgeargne’ f& v4 WA: 1 1-18 In Indi svayamvara, he describes the disappointment of ejected suitors in an exquisite simile where nature is inextricably blended with the subject matter described : ‘anton dates cat a @ satiara afeacrer | avanmnle ea 982 fravtard @ a afta: 1) 6-07 He describes the greying of DafarathalW hair blended Imaginatively with the warning that Rama should be made king: a siiqgarmer 0% steeaanfae | ‘Sa oma sfereswat ae 2-19 1 ‘Though Pirvati’s physical description is often cited for apt similes jn some cases he fails to find a parallel even in nature: alirgerar: afrntarear . garatereagAi Aa: | saearft BR aftonfe St waa CTATAATET: 1-36 1 Kalidasa’s description of Parvati bedecked with vernal flowers is matchless in evocativeness and cadence as well as in apt. similes. Here he demonstrates that natural ornaments of flowers. suited Parvati far superiorly than any jewellery. ‘orie falfea anei onpeteataetirent gwseheatigat aaragermt aed? i 3-58 4 He calls her a ‘arsiftoll qeftet way? 3-54aay ‘Another speciality of Kalidasa is personification which is always natutal and organic, never forced. Anthropomorphic viewing of hatote seems to be very spontaneous to Kalidssa. He often describes geographical features as! « eqanfia Rraeaeay Te) ABATE Roghuvaméa | 4-51 fiavafia Afgrar aeatgEneqaa Raghuvaméa | 1-52 goes atta aah Sxacararaift WR. 26 In Rtusamhara the forest site is described during rainy seasor with striking personification afta 82% stage’; ararcarariea mreatfatidad | afeafta ae afate: Fatt aaafes Maafeaaait saree: | 2-2: In some personifications Kalidisa goes even to the extent o: attributing all human emotions to inert objects. This _poetk conceit however is common in Sanskrit, While using nature fo! ‘thematic portrayal he often employs pathetio fallacy especially ir viraha or vipralambha situations. At times nature is describec to have direct effect on the mentality of the personages, It i: ‘often portrayed as being endowed with supernatural element: when it responds actively to a situation, The portrayal of rast too is directly aided by the portrayal of nature, From the treatment of nature Kalidasa depicts several rasa strikingly. In an elevated detailed description with the expres purpose of appreciating nature we get sublimity adbhuta ras where the poet makes the reader perceive the Snanda aspect o brahman effortlessly. There is éantarasa in the desorlptions o hermitages. In the description of spring one enjoys the portraya of sambhoga érngira, During the departure of Sakuntala th whole forest mourns affording Soka. The excruciating pain 0 viraha and vipralambha érngara is often portrayed by the descrip tion of the rainy season and the participation of nature in th affliction of the personages.9 The effect of seasons on personages especially that of spring land rainy season {s portrayed everywhere especially in Kum@rasam- bhava, Meghadsta and Rtusamhira. The very looking at a rainy cloud afflicts even a man with a sense of well being what then to say of a man separated from his beloved? Aare walk gfetscarmer afc: | qoarste sofaria® fagage ae U3 During the advent of spring the whole creation fs afflicted and even rils had trouble in controlling {themselves. ‘qpafadier agi TYR: 1 3-34 1 Byen plants are personified recklessly if charmingly by Kalidasa in this description qalageraaaerarea: Hae AAT: BaaTRARSHATg: FasMTETgTA TATA I 8-39 11 Parvati in penance on the other hand is hardened and {gnores the harsh changing seasons, In the verse, “ferar got ang arfearmer’ ete. I 5-24 I one perceives Parvati’s supreme indifference to her body and the cruel climate, Duryanta remarks that on secing beautiful scenery even normally contented persons get desirous of enjoyment ‘crates etc, 5-2, The effect of rainy season on separated lovers has become proverbial. In Viktamorvasiya Puroravas complai aairsaz ar feat: fret seas: geal 7 araatamaalia rasa 7 FrTaTATA: th 4-10 I In Raghuvaméa Aja laments poignantly “afeeatiar efareger fea Fa aaah: 11 8-66 1) Due to Indumatt’s demise the seasons become drab and agonising for him. In/Rtusamhira one is made aware of the direct effect M-210 of seasons’ on the mentality of ‘animals and men” or-at times even “plants. Summer engenders langour, rainy season sadness for men, gladness for plants and animals, Sarad and ¢isira enjoin sfntimacy and) sambhoga for men vasanta again brings forth Srogara. The whole ofientation of description in the~ work is pivoted on Srngira in its various aspects. The perception of time also changes according to thei character's moods. When happy tt is quick, when separated it is endless. ‘The “separated Yaksa wonders in Meghadata * dafta et ga ad idan fara 61 Not only does nature affect men, it also responds to their suf- fering ofien unexpectedly exhibiting at times supernatural powers. Planis often participate in a general sorrowful situation, In Raghu- vaméa during Aja’s lamenting Indumati’s untimely cruel death even nature cties: “fem: arereTzaT ang: #4 77 BEY: | 8-39 Even plants mourn Indumati— “ata caetagt SorETERAZoHA, SeIgeaaoaasa gufseae (|? 3-63 Ta Rats sorrow 00 the whole forest participated-— ‘fieary fieitiader angvertia gttertig (74-4 In Meghadata the conception of the cloud delivering the message Properly to the Yaksini 1s no doubt supernatural help rendered by nature, Tn Raghuvaméa when Sita is abandoned near Vale miki’s hermitage while expecting her children, the whole forest sulfered, When she sobbed aloud desolately, areas caer UT favagetag: tt 14-68 1) WH RAE gah ger qulgaenbaag: efor: | Bear ae engeaTg Meee ORE ASA 14-691)u But the sage comes to her rescue and takes her in his care. amanaaghaigad sf: genera: | fang Pramemactiea: ealeeamraea weretra? Il 14-70 A ‘sensitive sage who cannot brook the misery of evei a bird will naturally care more intensely for a delicate innocent person like Sita. While Kuga and Lava chant the Ramayana Nature Itself responds to the music ‘feafreaReact srafiaras sree 17 15-66 In Abbijoana Sskuutala during Sikuntala’s departure to the city all her pet animals moutn-and follow her. The deer cared fot by Sikuntala when it was wounded bars her path. The deoizens of the forest are stunned in their action. sqafeataaeren: seanada AAT | areas tat BAAAMSAT: Wl 4-12 ‘These show their mute suffering. We can also include here the sift of Vanadevatas to Sskuntala, the efartsi heard by Rati, Purbravas and others and such other factors involving nature. Another curious special feature of Kalidasa’s way of utilising nature for rasa depiction is pathetic fallacy. Almost always it Js used to depict vipralambha érogsra where there is still a possibility of a final reunion, The hero in a raving condition searches the beloved in a desperate often undignified way deman- ding the plant, the animal, the stone, the very element as to her Whereabouts. One notable, point here is that while the human being 1s on the verge of madness with occasional flashes of lucidity and a continuous thread of irfationat logic, Nature benig- nly remains neutral. Thankfully s0, for if it were to respond or participate, it will lead to a fix where the clearing of the lunacy becomes impossible, Here the calm sustaining influence of nature remaining truly what it is, never aiding the sufferer in his illusion is the factor which often draws back the sulferer abruptlyee a back to feality. In Meghaduts the Yaksa {s inourably delirious and entrusts the cloud with a message to his beloved. Though he reasons scientifically that the cloud is a collection of smoke, light water and wind, still he believes it to be capable of delivering fa message and what is much more strange is that it even folils his_mlssion, greats: afeeneai dfiga: & Fa: aetaral a agent: sofia: stefan: | “ pikgriaatorrqase aa . ante & sefeewnearTaaag U5 1 He offers it arghya, begs, 8 and cajoles it. He describes its way and even advises it to pay worship at holy places. He confers a mad though poetic blessing to the cloud at the end: “al aa aot + & figat fist: | 58 But Kalidasa was fully aware of the illogical situation and he calls the work a mere pastime for separated lovers: “ormer Petaa’ frre fate: 1° 63 In Vikramorvatiya the whole of fourth act is a beautiful study of pathetic fallacy where the raving Purtravas searches desperately for the transformed Urvasi throughout the forest. He has alter- nate perlods of delusion and lucidity but always ends up treating Practically everything as human. In his dismay he imagines the the rain shower of 1B ted beetles on t ‘areen grass, he mistakes it to be her cloth: eieainiade fegfi: Fenaritiveraetieay | ai wuftemteaerd i aaaemideaigey 4-17 11ib ae | rere ara | (aftra Rrarea = are) we Seg areTEe hey | ‘He interrogates all the animals he meets and varlously interprets ‘their silence and refusal. He even Introduces himself afresh to some animals. He even interrogates mountain! Particularly captivating 1s his mistaking a river for Urvasi. Here there is a combination of both personification and pathetic fallacy. ayn ghatensieatt fawiedt 4 aeafia aew fas qa fa ahi ealearfrenta Iga at waa waeeat at after Ut 4-52 I He even addresses the river thinking that it is really Urvasi, He sees a red afoka tree and even when the branches are shaken accidentally he is angered by its refusal. ars SAA By Tat THES FF (eamqaara aaaTaalea aATTy) A eefe gia Teale f Taf fae 1 BHU REMTAATTTST EAE RST: | meaarefanrdtr waa: goataTitsiga: | 4-62 II Here Purtravas’ suffering and the plant's supposed felicity are contrasted effectively. Finally he sees a dried up creeper which though devoid of flowers or fresh leaves attracts his affection. To crown his poignant yearning it is really Urvasi transformed thus by a curse, The description is apt and touching: wd Reaetseraar Harare: Tene: ae: | faratafinfirar ageatereztia seat oat mine sraafed sTargarta &T Il 4-68— a With the ald of sangamaniya gem he regains his beloved and lives with her for a long while, In depicting pathetic fallacy Kolidisa takes care to retain the neutrality of nature, for other- wise it will be transformed to a fairy tale and will not. remain poem. Nature lends poignancy to the viraha and vipralambha situ- ations, In Meghadata the very metre and tone adds sadness to the narration. The evocative sadness and poignancy of vipra- lambha {s evident in this verse where the Yakea hunts for some object resembling his beloved in nature: area afaeftolt Heit efor verorl aft fife séaitg Far | serait agg adifag Perey | easter otal 7 8 ae arena 46 UI In Ajavilapa poignant similes from nature heighten the effect of Aja’s sorrow: Rarphaes ge cafarasa ghia, Fifrgatite: oe Rearearae eer Ul 5-55 sen aang alee seeMly aaTwe Tay | aidig Felehiea canqasag fisAT: II s-59 In the fourth act of Vikramorvastya too nature plays an essential Part when Purdravas is separated from Urvasi due to her eatering Kumiravana by mistake and being transformed to a creéper duc to a curse. During Sakuntala’s departure {o the city also the description of nature sets the tone for soka as well as for omens {indicating her future sorrow. In general in the case of Kalic dasa's works {t 1s depiction of nature and the sorrowful atmos- phere rather than a detailed account of the Inner workings of ‘the minds of characters Which’ effects the portrayal of tue required rasa, This demonstrates the poct’s skill in artistlc creation though in a few deft strokes “he cam also Indicate ‘his deep underoo 15 standing of psychology. With the aid of cadence, sound effect ‘and skillful mature depiction he creates an indelible atmosphere of sorrow in his works at times even too adequately that the denouement appears forced and created may be merely to obey the contemporary convention. But the optimism in the conclu- ding verse of aja vilapa is striking and genuine. galsrafasaeest Gna: saa Semis TTA TTY ll 8-95 When man suifers without any hope in viraha, nature feels for hbim and responds supernaturally showing its sympathy. When he is driven to the extreme of delirlum in a vipralambha situation it sustains him by staying nevtral. In the case of his extreme madness if nature too were to respond the conditions will be aggravated and remain hopelessly {Mlogical. By depicting nature to stay neutral, Kélidisa brings back the character again and again to brutal reality. ‘The condition is fully cured of course only during reunion but the non-participation of nature serves to bring back lucidity to the character. By its general influence over ‘men, nature incites, soothes or at times aggravates feelings in ‘men. But being an aspect of the Universal Godhead, ultimately by its sublime character it always nourishes, sustains, soothes and consoles the sullerer provided he is lofty enough to draw susten- ance from it.