SakuntalaMacmillan and Company, limited, 1920 - 149 pages |
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Page xiv
... unions in Sakun- tala ; and the motif of the play is the progress from the earlier union of the first Act , with its earthly unstable beauty and romance , to the higher union in the heavenly hermitage of eternal bliss described in the ...
... unions in Sakun- tala ; and the motif of the play is the progress from the earlier union of the first Act , with its earthly unstable beauty and romance , to the higher union in the heavenly hermitage of eternal bliss described in the ...
Page xvii
... its joys and sorrows , unions and partings , proceed from the conflict of these two forces . Sakuntala's simplicity is natural , that of Miranda is unnatural . The different cir- cumstances under which SAKUNTALA xvii.
... its joys and sorrows , unions and partings , proceed from the conflict of these two forces . Sakuntala's simplicity is natural , that of Miranda is unnatural . The different cir- cumstances under which SAKUNTALA xvii.
Page xxi
... union . The beauteous dream of the hermitage is about to be broken . The two young hermits who are escort- ing Sakuntala , at once feel that they have entered an altogether different world , " a house encircled by fire ! " By such ...
... union . The beauteous dream of the hermitage is about to be broken . The two young hermits who are escort- ing Sakuntala , at once feel that they have entered an altogether different world , " a house encircled by fire ! " By such ...
Page xxv
... union of Dushyanta and Sakuntala tread the path of sorrow , and thereby chastened and sublimated it into a moral union . Hence did Goethe rightly say that Sakun- tala combines the blossoms of Spring with the fruits of Autumn , it ...
... union of Dushyanta and Sakuntala tread the path of sorrow , and thereby chastened and sublimated it into a moral union . Hence did Goethe rightly say that Sakun- tala combines the blossoms of Spring with the fruits of Autumn , it ...
Page xxvi
Kālidāsa. Act as mere lovers is futile , while their union in the last Act as the parents of Bharata is a true union . The First Act is full of brilliancy and movement . We have there a hermit's daughter in the exuberance of youth , her ...
Kālidāsa. Act as mere lovers is futile , while their union in the last Act as the parents of Bharata is a true union . The First Act is full of brilliancy and movement . We have there a hermit's daughter in the exuberance of youth , her ...
Common terms and phrases
ACTRESS Anasuya arrow austerities beauty BHAR Bharata blessing blossom breathe bride CHAMB CHAP chariot child companions curse CURTAIN daughter dear friends dear Sakuntala deer demons DURVASA earth Enter Exeunt Exit eyes farewell Father Kanwa fawn fear FISHER FISHERMAN flowers GAUT GAUTAMI girl glory gone grove guest Gupta hand happy HARITA heart heaven hermitage hermits holy honour husband Indra jasmine Kalidas Kalidasa Kashyapa KING DUSHYANTA King's LAURENCE BINYON LEWIS CASSON Listen look lotus MADHURIKA maidens Majesty mango MATALI MATH MATHAVYA mother never noble nymph palace peace penance play poet POLICE prince PRIYAM Priyamvada Puru's reverence ring rites royal Sage SAKUN Sakunta SARAD SARN Sarngarava SCENE SIR RABINDRANATH TAGORE Smiling song sorrow Spring Suchaka SURAMA sweet SYBIL THORNDIKE tala tapaysa tears tell tender There's thing thought trees true union VETRAVATI Viswamitra VOICE wedded wife wild word
Popular passages
Page xiii - 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 Sakuntala,- and all at once is) said.
Page xix - Otherwise, the desertion would have been so extremely cruel and pathetic as to destroy the peace and harmony of the whole play. But the poet has left a small rent in the veil through which we can get an idea of the royal sin.
Page xv - He has fully painted all the blandishments, playfulness, and fluttering of the intoxicating sense of youth, the struggle between deep bashfulness and strong self-expression. This is a proof of the simplicity of Sakuntala ; she was not prepared beforehand for the outburst of passion which the occasion of Dushyanta's visit called forth. Hence she had not learned how to restrain herself, how to hide her feelings.
Page xxvii - ... loving bosom of the entire forest world ; he absorbs all the liveliness of the trees, creepers, flowers and foliage. The matrons of the hermitage, in their loving anxiety, are fully taken up with the unruly boy. When Sakuntala appears, we see her clad in a dusty robe, face pale with austerities,... doing the penance of a lorn wife, puresouled. Her long penances have purged her of the evil of her first union with Dushyanta ; she is now invested with the dignity of a matron, she is the image of...
Page xxiv - Therefore, the poet has made the two lovers undergo a long and austere tapaysa that they may gain each other truly eternally. If Dushyanta had accepted Sakuntala when she was first brought to his court, she would have only occupied a corner of the royal household, and passed the rest of her life in neglect, gloom, and uselessness. It was a blessing in disguise for Sakuntala that Dushyanta abjured her with cruel sternness. When afterwards this cruelty reacted on himself, it prevented him from remaining...
Page xvi - Sakuntala; she was not prepared beforehand for the outburst of passion which the occasion of Dushyanta's visit called forth. Hence she had not learned how to restrain herself, how to hide her feelings. Sakuntala had not known Cupid before; hence her heart was bare of armour, and she could not distrust either the sentiment of love or the character of the lover. The daughter of the hermitage was off her guard, just as the
Page xiv - Goethe says expressly that Sakuntala •contains the history of a development, — the development of flower into fruit, of earth into heaven, of matter into spirit.
Page xiv - In truth there are two unions in Sakuntala; and the motif of the play is the progress from the earlier union of the first Act, with its earthly unstable beauty and romance, to the higher union in the heavenly hermitage of eternal bliss described in the last Act...
Page xx - Kanwa and the good wishes of the whole forest world. And now a stain falls on the picture we had so hopefully formed of the home of love to which she was going. When the jester asked, " What means this song ? " Dushyanta smiled and said, " We desert our loves after a short spell of love-making, and therefore I have deserved this strong rebuke from Queen Hansapadika.
Page xxvii - Law is etemal, that the calm, controlled, and beneficent form of Love is its best form, that beauty is truly charming under restraint and decays quickly when it gets wild and unfettered. This ancient poet of India refuses to recognise Love as its own highest glory; he proclaims that Goodness is the final goal of Love. He teaches us that the Love of man and woman is not beautiful, not lasting, not fruitful, so long as it is self-centred, so long as it does not beget Goodness, so long as it does not...