CBCS Sem-1 "Abhijnana shakuntalam"; Character of Vidushaka

Character of Vidushaka in Abhijnanasakuntalam

Vidushaka the jester, originating in Sanskrit theatre, occupies a central position like the sutradhar. He creates laughter through instant witticisms and jocular speech, curved and ugly appearance, fanciful costume, and eccentric gestures. He is a humorous companion and confidential friend of the hero, and excites mirth by allowing himself to be made the butt of ridicule. But at the same time he is a witty experienced man, a keen and clever observer who usually comments on human foibles. Therefore the vidushaka always speaks in Prakrit and becomes the mouthpiece of common sense truths.  He is always a Brahman, who is repository of the knowledge and most respected as well. In the words of R.V.Jagirdar “He is the only character, who helps to introduce the hero, who serves as a foil to the latter and who is the only medium between the hero and the other characters on one hand and between the hero and the audience on the other.”

All the three vidushakas in Kaildasa's plays- Gautama in Kalidasa's first play MalavikagnimitramManavaka in Vikramovarsiyam and Madhavya in Abhijnanasakuntalam, are witty, figures of fun and comic in nature yet they all have their own unique qualities and roles in the plays which shows them as contrasting characters to each other.Madhavya in Abhijnanasakuntalamas a court jester is new in his set of characteristics.  Although a companion of king Dushyanta he does not stop mocking at him for his follies.  He is in every way a critic of the king.  Everyone around him is the subject for his witty criticism.  Unlike Gautama he makes no effort to make Dushayant and Shakuntala meet or unlike Manavaka he is not even a sympathetic listener to the Kings State of emotions.  He's a figure of fun but is deeply attached to the king.  The court jester Madhavya here is an ill-favoured hunchback.  In act 2 itself we come across his witty criticism as he remarks: “As my ill luck would have it, he chanced upon a beautiful hermit girl, Shakuntala is the name.  From that moment, sirs, the very idea of returning to the capital finds no place in his thoughts.” His sharp and caustic wit is evident yet again when Dushyanta asks him what has paralyzed his limbs and he answers: “A fine thing to ask; do you hit me in the eye and then ask why it is watering?”

He appears to be the typical creature of the court who hates the forest and everything about it. He complains to the king that he misses the good life of the palace. He unlike the other two vidushakas reminds his king of his duties and responsibilities as a ruler and that he needs to go back to the kingdom instead of indulging in hunting. He pretends to not to understand what Dushayanta feels for Shakuntala and as he compares his craving for  her like he himself craves for sweet dumplings and candied dates.  In a way it appears as if Madhavya condemns his love for Shakuntala.  Although he seems distant from Dushyanta's love affair he does advise him and that too wisely.  As he tells him “Hurry Sir, and rescue her before she falls into the hands of some forest dwelling hermit with greasy head and hair plastered down with Ingudi oil.” Madhavya does not spare any one, but openly criticizes anything he does not like fiercely.  He also makes fun of how restless the king is to get Shakuntala: “What Sir! did you expect then her to leap into into your arms as soon as she set eyes on  your honour?”

Madhavya seems determined to console his friend through the magical power of encouraging words.In the Act VI of the drama, he consoles king Dushyanta, saying that fate is ever powerful.He advocates that good or great man never gives way to sorrow. Mountains do not tremble in storms. Thus, he provides immediate help and relief to Dushyanta to overcome from grief and sorrow.Moreover, in the Act V, the Vidushaka's simplicity also allows him to be seized and detained by Hamsapadika who has a very important purpose; for had he been present when Shakuntala was brought in and repudiated, he would have recognized her, as his memory was not cursed. Similarly, in the next act, Vidushaka is a ready instrument in the hands of Matali who is enabled to rouse Dushyanta from his lethargy, only by pretending an attack on the Vidushaka. It is noted that the Vidushaka conveys the cultured and the civilized sentiments of the hero to the audience and shows more of his common sense.

Thus Madhavya provides all that there is required to ascertain that the king is in love with Shakuntala, comforts and cajoles him and even satirizes him for his foibles.  However he is absent during critical moments in the play. Firstly he is sent back to the kingdom to take part in the rituals.  He is absent at the crucial stage when Dushayanta gets married to Shakuntala and also during the trial scene of Act V.