Loka Shakuntala
To me the differences between Vyasa and Kalidasa are of a different character altogether. In Vyasa, the story of Shakuntala forms only a part in the depiction of the royal lineage. And hence it is structured as a chronicle. Unlike this, Kalidasa uses the story to study the lifestyle in an imperialistic setup and also to study a man-woman relationship that comes within such a setup. While Vyasa hovers about the subject with a bird's eye-view, Kalidasa approaches the very same subject with architectural designs marking it with meticulous details.
Probably, a political system such as the one that Kalidasa depicts becomes possible in two ways. (1) It might stem from the power, popularity, wisdom and so on of the rules. Or (2) it might come into existence when the system maintaining the petty tribal states collapses on its own because of its inability to meet with the demands of complex trade, commerce and transportation systems-proving itself to be a stumbling block in the path of progress. Or, one can say that such a system comes into being when, at a certain phase in history, the desires and demands of people move towards centralisation, urbanisation and greater comfort. A particular type of marriage system and the resultant family system, the concepts of personal rights, the hereditary enjoyment of property, division of the society on the basis of property, profession and interests of the individuals etc. form the basis for organising such a huge empire (as stated above). Later, do's and don'ts, rules and regulations, the concepts of morality, protection and punishment etc., come into being for the maintenance of such a system, because of this, at one level, life becomes more secure, certain, peaceful and also comfortable. This, in turn, opens up new possibilities for the people giving birth thereupon to fresh human desires. As a result, life and living become more competitive. It is not that this system has only good effects; it also has evil effects. Qualities like greed, competition, jealousy, violence, exploitation, oppression issue forth from the system. This way, corruption takes root.
If we do not overlook the details the playwright provides us deliberately, we can see in the play itself all that we have observed above on this particular political system. It is clear that within the framework of Hasthinawati, Kalidasa is recreating what he might have known about the Magadha empire and what he himself had seen of the Gupta empire.
The political setup of Hasthinavathi, as the play suggests it, could be identified as belonging to Arya-Nagaraka culture. But the environment of Kanwa's ashrama we come across right at the beginning of the play points at a different setup altogether. Here the life style is relatively simple, people are less ambitious and less competitive. In other words, the life here appears to be tranquil and in that sense rich. One may as well say that it appears to be the succeeding phase of the pastoral culture of the early Aryans. But it seems that this life, having become stagnant and rotten in the course of time, has created a certain sense of wonder, attraction and desire towards the Nagaraka Culture. This ashrama culture we are talking of may be termed Arya-Aranyaka culture. It is a religious set up that is entirely different from the set up of the petty tribal states. Because of its simplicity, religiosity and diversity concerning marriage, family and private property this system cannot easily collapse in the same way as the tribal states do when imperialism mears its head. Therefore the imperialist monarch has to deal with the aranyaka culture more prudently. He shows respect for their religious way of living, exempts them from taxes, and to some extent given them the freedom that is denied for others; in addition, he protects the ashramites in their religious activities from the rakshasas and wild animals; and what is more, the activities of the ashrama are exploited by the imperialist monarch in a very subtle way to strengthen his own base.
The city and the woods recognise and respect each other. It cannot be mutual trust alone, but mutual fear also that generates this respect. Between the city and the woods, there is that distant attraction; and as such, there is repulsion also when they come into close contact. When they actually come near each other the city finds the woods boring, and the woods find the city unbearable.
Apart from these, one could also notice two more cultural environments in the play; one, the 'Swarga' culture. In matters concerning marriage, family, private property, human achievements and so on, it has a separate identity of its own. Since it is foreign, energetic and strong, even Hastinawathi seems to conduct itself obediently and respectfully towards this culture. The 'Swarga' culture also needs the support of Hastinawathi and hence shows filial love towards it. Displaying the same filial love it exploits Hastinawathi to its advantage whenever the need arises. The other culture is one of Hemakoota which is situated in between 'Swarga' and 'Martya'. According to the descriptions of the play, the life-pattern delineated here is one of Sharamana-culture which is entirely different from that of the Aryan culture. It seems that the Arya culture could neither understand it not take part in it but found it simply strange and alien.
Whatever the political system, it reflects the culture and lifestyle of the land in question. More so when the imperialist stranglehold is growing stronger by the day. Kalidasa builds up the atmosphere of his play by giving us an accurate picture of the political setup.
Though one could think of experience as being personal, it is in fact shaped by the interaction between the individual's innate personality and the external surroundings. Kalidasa's play, too, suggests that. The royalty of Hastinawathi vying with other cultures to cultivate and establish its own identity; and the (man-woman) love-story of Dushyantha and Shakuntala woven into the fabric of the Arya-Nagaraka culture of this royal setup; this is the ground-plan.
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