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In addition to the non-authentic works, there are also some "false" Kalidasas. Immensely proud of their poetic achievement, several later poets have either been barefaced enough to call themselves Kalidasa or have invented pseudonyms such as Nava-Kalidasa, "New Kalidasa", Akbariya-Kalidasa, "Akbar-Kalidasa", etc. [23]
A fierce debate has raged over the question as to whether the whole of the seventeen cantos came was penned by Kalidasa. Vitthala Śastrin, who in 1866, published Cantos VIII to XVII in The Paņdit, took them as genuine work of Kalidasa while scholars like Hermann Jacobi took Cantos IX to XVII as a
Pages in category "Works by Kalidasa" The following 8 pages are in this category, out of 8 total. This list may not reflect recent changes. C. Clay Sanskrit Library; K.
Palm-leaf manuscript cover illustrated with scenes from Kalidasa’s Shakuntala play, Kathmandu Valley, Nepal, circa 12th century. Plots similar to the play appear in earlier texts. There is a story mentioned in the Mahābhārata. A story of similar plot appear in the Buddhist Jātaka tales as well. In the Mahābhārata the story appears as a ...
One of his Shakuntala paintings was even selected as the frontispiece for Monier-Williams' 1887 edition of Kalidasa’s play. [10] His most famous painting, Shakuntala Looking for Dushyanta captures the moment when she feigns removing a thorn from her foot while actually glancing back to see if Dushyanta notices her.
A poem of 120 [3] stanzas, it is one of Kālidāsa's most famous works.The work is divided into two parts, Purva-megha and Uttara-megha. It recounts how a yakṣa, a subject of King Kubera (the god of wealth), after being exiled for a year to Central India for neglecting his duties, convinces a passing cloud to take a message to his wife at Alaka on Mount Kailāsa in the Himālaya mountains. [4]
Three famous romantic plays written by Kālidāsa are the Mālavikāgnimitram (Mālavikā and Agnimitra), Vikramōrvaśīyam (Pertaining to Vikrama and Urvashi), and Abhijñānaśākuntalam (The Recognition of Shakuntala). The last was inspired by a story in the Mahabharata and is the most famous.
Pururava, moved to extreme sixth stage of being in love, [6] tried to find her and this is an opportunity Kalidasa creates to add narration of Nature, and conversation of Pururava with various elements of Nature, flora and fauna. Description of Nature is Kalidasa's forte and the metaphors he uses to describe his beloved are wonderful.