characters--Dushyanta, Shakuntala,
Kanva, with the small boy running about in the background. To these
Kalidasa has added from the palace, from the hermitage, and from the
Elysian region which is represented with vague precision in the last
act.

The conventional clown plays a much smaller part in this play than in
the others which Kalidasa wrote. He has also less humour. The real
humorous relief is given by the fisherman and the three policemen in
the opening scene of the sixth act. This, it may be remarked, is the
only scene of rollicking humour in Kalidasa's writing.

The forest scenes are peopled with quiet hermit-folk. Far the most
charming of these are Shakuntala's girl friends. The two are
beautifully differentiated: Anusuya grave, sober; Priyamvada
vivacious, saucy; yet wonderfully united in friendship and in devotion
to Shakuntala, whom they feel to possess a deeper nature than theirs.

Kanva, the hermit-father, hardly required any change from the epic
Kanva. It was a happy thought to place beside him the staid, motherly
Gautami. The small boy in the last act has magically become an
individual in Kalidasa's hands. In this act too are the creatures of a
higher world, their majesty not rendered too precise.

Dushyanta has been saved by the poet from his epic shabbiness; it may
be doubted whether more has been done. There is in him, as in some
other Hindu heroes, a shade too much of the meditative to suit our
ideal of more alert and ready manhood.

But all the other characters sink into insignificance beside the
heroine. Shakuntala dominates the play. She is actually on the stage
in five of the acts, and her spirit pervades the other two, the second
and the sixth. Shakuntala has held captive the heart of India for
fifteen hundred years, and wins the love of increasing thousands in
the West; for so noble a union of sweetness with strength is one of
the miracles of art.

Though lovely women walk the world to-day
By tens of thousands, there is none so fair
In all that exhibition and display
With her most perfect beauty to compare--

because it is a most perfect beauty of soul no less than of outward
form. Her character grows under our very eyes. When we first meet her,
she is a simple maiden, knowing no greater sorrow than the death of a
favourite deer; when we bid her farewell, she has passed through happy
love, the mother's joys and pains, most cruel humiliation and
suspicion, and the reunion