The Prognostic Potentia1 of Kalidasa’s Similes

The Prognostic Potential of Kalidasa’s Similes

V. L. Narayanacharyulu

“Manam” means a scale or a standard. “Upa” means near-about. Thus “Upamanam” signifies a near-about-scale or an improvised standard. Where a phenomenon cannot be brought under the yoke of a perfect measure, because of the multi-dimensionality that permeates it, the only subterfuge, to assess its purport, is to bring it under the spell of an Upamanam. And the adepts in deploying “Upama” suggestively highlight the dimension that is to work out the dynamics of the events to come later, as the summum bonum of the contemplated comparison. That is how, prognosis gets mixed up in the upamas of great poets. Kalidasa being a pastmaster in this craft, prognosis beams through his upamas in an Anupama fashion. “UPAMA and KALIDASA” is quite a hackneyed subject and his versatile genius in exploiting this alankara is worked out in great detail by a very large section of men of letters. However, it is only the semantic aspects that received the widest possible acclaim. The kinematic aspect, in terms of the potential for prognosis, as revealed by the contents and colours of his upamas, docs not get its due recognition, and in this paper I venture to show a little bit of my own reflection in that direction and throw some light on the immanent prognostic elements contained in a select few upamas from his celebrated works. To start with Raghuvamsam.

1. Bhogeeva Mantroushadhi Ruddha Veeryaha.

Dileepa, who is overpowered by the lion is likened to a snake under the spell of magic and/or herb. It is common knowledge that the spell of magic is only for a while. That Dileepa gets eventually released is suggested poignantly by the simile, Oshadhi means an annual plant or herb which dies after becoming ripe (V. S. Aptc). That the eventual release will be only after the fulfilment of the purpose of the imposition of the spell also comes out from a certain ramification of the signification of the term Oshadhi. Nextly, what is overpowered is only valour – the vigour of physical movements and the mentation in respect of its deployment. The suggestion here is that Dileepa’s powers of discrimination did not undergo any diminution, and this is well borne out by the subse­quent conversation with the lion, which plays a pivotal role in the dynamics of the plot. Lastly, the term “Ruddha Veerya” can­notes constrained seminal efficacy and it later turns out to be the consequence of the curse of Kamadhenu and points in the direction of the eventual emancipation from the spell of the curse. So much of prognosis in a simple simile and that is Kalidasa.

2. Prabhata Kalpa Sesineva Sarvari.

Sudakshina, in her advanced pregnancy, is compared to the night just before dawn. Apart from the aptness of the simile in terms of her paleness as reflected by the fadding moon and all that, the powerful prognosis is that a son is presently emerging in the dynasty of the Sun, even as the Sun is all set to rise in the East.

3. Tri Sadhana Sakti Riva Dhamakshayam.

Even as the power of Trisadhana yields abiding results, Sudak­shina gave birth to Raghu. The hint is that the infant, that Raghu is now, will in course of time earn infinite fame by the dint of the three powers of Uthsaha, Prabhu and Mantra that went into his very genesis, along of course, with the fortification he could bring to bear in his own life. The simile also suggests signal placement for Raghu in the dynasty and offers the justification for naming the dynasty after him, for his genesis is likened to the fulfilment of Thrisadhana in Ardhamakshyam.

4. Chayeva Tham Bhoopatiranvagachcheth (II-6)

Dileepa’s following Nandini is compared to shadow following substance. One may wonder how Dileepa failed to follow the cow into the dark cave (II-27). The poet portends it in this simile, long before the event took place. The darkness of the cave inhibits shadows and as such Dileepa, following as a shadow, failed to follow the cow into the cave, as a matter of his ordinary course. He goes there a little later, and the story takes its own course, but the prognosis in the simile stands out on careful observation.

5. Jagmur Vibhata Graha Mandabhasaha.

The princes that attended the Swayamvaram of Indumati are like pre-dawn planets with bedimmed brilliance. The simile presa­ges the entry of the son of the Sun’s dynasty, Aza, who wins the hand of the princess eventually. That the Sun is the king of planets is the soul of this Alankara.

6. Hradhaha Prasanna Eva Goodha Nakraha.

The Swayamvara sabha, after Indumati weds Aza, is like a tranquil lake, concealing crocodiles in its depths. The simile port­ends the eventual affrontery the discarded princes, in consortium, unleash on the invincible Aza.

7.Chaya Vrukshamiva Adhwagaha, Madhye Parijata Miva Aparam.

Lord Narayana is to Devas what an umbrageous tree is to way­farers. He is also like an yet another Parijatam. These compari­sons presage the protection that Raghu Rama proferrs to the Ravan­-afflicted Devas, as also the fulfilment of their desires.

8.Sapuri Streeva Kantha Paribhoga Mayatam

The city of Mithila tolerated the outrage that the army of Dasaradha indulged in in its outskrits, even as a woman swallows the rudeness of her consort. The simile indicates eventual marital ties between Mithila and Ayodhya.

9. Syena Paksha Paridhoosaralakha.

Pestered with the dust liberated by the wings of ravens, covered by the blood-red dusky clouds, the entire space (disaha) became intolerant of sight, even as a woman in periods becomes so, with her dishevelled hair, and redressed clothes. The portent of Ayodhya, with the suggestion that it is quite a natural phenomenon, which ultimately fructifies into a good and long cherishad end.

10. Varoodhineem, Uttata Nadee Rayaha Sthaleem.

Just as the banks lose their indentity when the rivers overflow them, the army of Dasaradha lost its composure. The hint is about the immediate entry of Bhargavarama. But just as spate is but for a while, so will be the eventual effervescence of Bhargavarama is the potent presentiment of the particular simile.

11. Vainatheya Semithasya.

Sun is as dull as the mani(jewel) that fell from the hood of a snake, on its being vanquished by Garukmata. Prognasis is that Bhargavarama will be overpowered.

12. Udwavamendra Siktabhush Bilamagna Mivoragau.

Even as rain-mellowed soil projects the erstwhile hole-concealed snakes, Kaikayi, after being softened by her husband, vomited two boons, all the while meandering in her bosom. Apart from the other beauties of this simile, the prognosis is the eventual deaths of Dasaradha and Ravana. The boon of Bharatabhisekam, expected to take immediate effect unleashes the almost immediately following death of Dasaradha. The other boon of Rama Pravrajanam, seek­ing to extended it to years fourteen presages Ravana’s death, ensu­ing after the span of the boon. The snakes are boons, it must be noted, and hence, even if they entail in the deaths of a few persons, they cater to Loka Kalyanam. Such is the immanent purport of the simile.

So much for Raghuvamsam which was extensively covered in this paper, only marginal coverage from other works follows, because of limitations of space. The following are from Kumara Sambhavam.

13. Samya Prayogada Parikshathamyam.

The Lord of Mountains generates Satidevi in Menaka, even as activity with gusto in the direction of morality, unvitiated by being perfectly prosecuted, yields wealth. This simile suggests that Parvati is cut out for accomplishment of her mission and presages the entire course of the Kavyam in its dynamic signification.

14. Pathangavath Vahnimukham Vivakshuh.

Manmadha is like a moth, ready to enter the mouth of fire. The eventuality of his being consumed by Siva’s Nethragni is pre­saged.

15. Harastu Kinchith Parilupta.

On seeing the fullmoon face of Parvati, Lord Siva undergoes a marginal (and superficial too) loss of composure, even as the ocean undergoes a superficial turmoil under the spell of fullmoon. The cause for the full bloom of Parvati’s face is the machination of Manmadha from behind and the superficial turmoil in Siva leads to the loss of the superficial aspect (Tanu) of Manmadha. This is the prognostic portion of the simile.

Now, one from Meghasandesam.

16. Ratna Chchaya

The Sun at dusk imbuing it with the finesse of a diamond, the rainbow coming from the yonder mouth of a snake-pit acting as a plume, the cloud is like Lord Vishnu donning the role of Gopala, brandishing peacock feather. Lord Krishna is a celebrated emissary in Mahabharata. Kalidasa introduces the intention of Yaksha to use cloud for his Sandesam in this simile.

Lastly one simile from Abhijnana Shakuntalam.

17. Yayatheriva Sermistha

Kanwa’s benediction to Sakuntala on her leaving to join her husband is that she be to her husband as beloved as Sarmishta to Yayati. Sarmishta undergoes many travails, but begets a son for Yayati, and that son becomes the heir eventually. The simile portends many a discomfiture for Shakuntala, but augurs well with the final fulfilment.

To sum up, Kalidasa’s Upamas unfold ever fresh vistas of suggestivity and retain their charm, as if they were unsmelt flowers and uncut diamonds, not only by semantic graces, but by thematic nuances as well.

That is why Vallabhacharya enjoins that Kavyas of poets like Kalidasa must be continually minded by scholars, world over, reflecting their infinite experience and immaculate expertise in all the Sastras.