2025, Vol. 11, Issue 2, Part A

author(s)
Manidip Chakraborty

abstract
Kalidasa’s Abhijnanasakuntalam is a fine instance of Classical Indian drama experimenting with and using to a great advantage many clever stage devices hinging upon the dualism of absence-presence. It is the absence of a considerable number of persons as well as factors which contributes to the coming together and subsequent separation of the king Dushanta and the hermit girl Sakuntala. There are also many off-stage presences that leave a considerable impact on the proceeding of events in the play. The element of voyeurism too adds to the understanding of the mechanism of knowledge-ignorance in the play. In short, the play charts a steady movement from absence to presence, from darkness to illumination, from rejection to acceptance.Kalidasa’s Abhijnanasakuntalam is a fine instance of Classical Indian drama experimenting with and using to a great advantage many clever stage devices hinging upon the dualism of absence-presence. It is the absence of a considerable number of persons as well as factors which contributes to the coming together and subsequent separation of the king Dushanta and the hermit girl Sakuntala. There are also many off-stage presences that leave a considerable impact on the proceeding of events in the play. The element of voyeurism too adds to the understanding of the mechanism of knowledge-ignorance in the play. In short, the play charts a steady movement from absence to presence, from darkness to illumination, from rejection to acceptance.