Pumskokilakujita in Kalidasa
By Sushma R. Kulshreshtha, Abha Kulshreshtha
Summary
The article "Pumskokilakujita in Kalidasa" by Sushma Kulshreshtha and Abha Kulshreshtha examines the poet Kalidasa’s deep knowledge of the music of birds, specifically the male and female cuckoos. The authors argue that Kalidasa was an expert in the science of birds, seasons, trees, and music, and they demonstrate this through a detailed analysis of the term *pumskokilakujita*, which refers to the sweet singing of the male cuckoo. The main evidence presented in the paper comes from Kalidasa’s various works, including *Rtusamhara*, *Kumarasambhava*, *Raghuvamsa*, *Vikramorvasiya*, and *Abhijnanasakuntala*. The authors explain that Kalidasa uses the term *kashaya* to describe the male cuckoo’s throat, which becomes tinged with passion after the bird sips the fresh juice of mango sprouts. This music is described as the eloquent mandate of Cupid, which breaks down the pride (*mana*) of high-minded damsels. The article also discusses the female cuckoo, referred to as *parabhrta*, *madanaditi*, and *ratiduti*. The authors note that Kalidasa portrays the female cuckoo as the cleverest of birds and a messenger of love, capable of accomplishing the union of lovers. The paper further explores the cuckoo's role as a bard of Kama, the god of love, and its use of *alapa*, a technical term of musicology meaning the elaboration of musical notes. Throughout the text, the authors provide numerous examples from Kalidasa’s verses to show how the sweet notes of the cuckoos, along with the humming of black-bees and the spring breeze, create an elixir for love and arouse libido. The article concludes by highlighting Kalidasa’s precise and varied terminology for the cuckoo across his works.
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Conclusion
This article demonstrates Kalidasa’s profound expertise in ornithology, musicology, and erotology by closely examining his nuanced portrayal of the cuckoo in works like *Ritusamhara*, *Kumarasambhava*, and *Raghuvamsa*. The analysis highlights how the poet meticulously links the male cuckoo’s sweet song to the consumption of mango sprouts and the arrival of spring, while depicting the female cuckoo as a clever love-messenger (*kamaditi*). These intricate observations underscore Kalidasa’s ability to weave zoological accuracy with poetic metaphor, establishing the cuckoos as the bards of Kamadeva. Ultimately, the study affirms the poet’s unparalleled command over the science of birds and the aesthetic nuances of classical Indian literature.