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Kalidasa

By Sushil Kumar De

Vol. 16 · No. 2June - 1940pp. 385–422English

Summary

This article offers a literary appreciation of Kalidasa, focusing on his poetic style and the emotional qualities of his works. The author emphasises Kalidasa’s serenity, artistic refinement and the balance between thought and feeling. He notes that Kalidasa’s poetry maintains a high level of excellence without extreme fluctuations; ruggedness and angularity are smoothed, and his verses achieve a haunting suggestion of beauty. The author argues that Kalidasa’s tranquil contemplation of recollected emotions defines the aesthetic attitude of his poetry. However, this tranquillity, while giving his work dignity and polish, also limits his ability to convey intense or crude emotions. By comparing Kalidasa to Bhavabhuti, the article suggests that Kalidasa prefers polished and ornate expressions, while Bhavabhuti explores raw and rugged feelings. The article analyses Kalidasa’s major works, including the plays Abhijnana-Shakuntala and Vikramorvashiya and the epic poems Raghuvamsa and Kumarasambhava. It highlights his vivid descriptions of nature and his ability to evoke moods through images. The author observes that Kalidasa’s poetry is rarely violent or tempestuous; everything is dissolved in harmony and beauty, without jarring notes. This refinement sometimes results in a sense of reserve, making his characters appear idealised rather than fully human. Nevertheless, his restraint allows for profound pathos, as seen in his portrayal of Rama’s sorrow compared to Bhavabhuti’s more explicit depiction. The article concludes that Kalidasa’s poetry exemplifies the highest achievements of Sanskrit literature, combining stylistic elegance with emotional depth.

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Conclusion

The article concludes that Kalidasa’s greatness lies in his ability to merge thought, feeling and sound into a serene and refined poetic vision. His work embodies the classical ideal of beauty and restraint, though it may lack the raw intensity found in other poets. The balance of polish and depth makes Kalidasa a central figure in Indian literary history.

Key passages

Chosen by AI from the article's text. Each one is checked word for word against the text before it is shown.

  • “Yet, it 15 marvellous that the Kavya attains 15 climax 10 him and a state of perfection which is never paralleled in us later history.”
  • “In Kalidasa we are introduced at once to something new which no one hit upon before, something perfect which no one achieved, something incomparably great and enduring for all ume.”
  • “Kalidasa can keep himself above his subject in the sense of command, as Bhavabhiiti too often merges himself in it in the sense of surrender; and the difference 15 best seen in their respective treatment of pathos, 10 which Kalidasa's poetic sense of restraint and balance certainly achieves a more profound effect.”

Works cited in this article

  1. Peterson in Subbasitavali, introd, pp. 60-61.
  2. Stein 10 his translation of the Raja-tarangini, i, pp. 66, 84 f.
  3. Goldschmidt, with German trs., Strassburg and London 1880; cd. Sivadatta and Parab, with Skt. comm. of Ramadisa, NSP, Bombay 1895.
  4. F. W. Thomas, Kasvindra-vacana®, introd., pp. 54-55.
  5. K. De, Sanskrit Poetics, 1, p. 32; fragments of this writer have been collected from citations in later works ‘and published by T. R. Chintamani 10 the Journal of Oviental Research, Madras, ii (1928), pp. 118-28.

Discussed in this article

Texts & works

  • Nalodaya
  • Rajatarangini 9
  • Raksasa-kavya
  • Tripura-dabana
  • Reu-sambara
  • Yamakakavya
  • Setubandba®
  • Aucitya-vicdra-carca
  • Hayagriva-vadba
  • Niti-sara
  • Yudbisthira-vijaya

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