Kabir is a very important figure in Indian history.

Kabir was appeared on the full moon day in

the month of Jyeshth of the Vikrami year 1456 that corresponds to the year 1398 AD. It was
Monday on that day. Regarding the appearance of Kabir, there is a famous couplet which is
taken as an authentic indicator in Kabir-pantha (a sect formed by the followers of Kabir). This
couplet clearly ascertains the day of Kabir's appearance:
Chaudah Sau Pachpan Saal Gaye, Chardravar Ek Thath Tha
Jeth Sudi Barsayat Ko, Pooranmasi Tithi Pragat Bhaye.

Thus, this couplet describes the passing of fifty-five years. As for the year, both 1455 and 1456
(of the Vikrami era) are described traditionally as the year of Kabir's appearance. When one says
1455, it is always followed by 'passed' – that is the year 1455 had passed before the appearance
of Kabir. Of course, the passing of the year 1455 marks the beginning of the year 1456. There is
no doubt in it. By all means, therefore, the day of Kabir's appearance falls on the turn of the year
1455 and the beginning of 1456 in Vikrami era.
On that full moon day in the month of Jyeshtha, Neeru was bringing his wife Neema from her
parental home in Mandur village (present Maduadeeh) after gauna (the custom of bride’s second
coming to groom’s home after her marriage). The village Mandur (present Maduadeeh) is
situated in the southern part of Varanasi. Neeru's residence was in Naraharpura locality (present
Kabir-chaura) of Varanasi. . Neema felt thirsty because of intense heat. She was badly perplexing
when the palanquin made a halt beside a verdant mound near Lahartarapond, and all the travelers
began to rest under the shade of a tree. Neeru soon began to nap under the influence of cool
breeze that blew from the mound while Neema reached the bank of the pond to quench her thirst.
As she was about to drink it, she heard the cries of a baby. Neema stopped drinking and raised
her eyes. She noticed a newborn baby lying on the ground at some distance from the pond. The
baby was thrashing its limbs violently and crying relentlessly. The baby was extremely beautiful
and had some supernatural touch that attracted Neema. But still she was hesitant for babbling
tongues of the society. Very soon, affection. Ultimately, Neeru gave away before the insistence of
his wife Neema… and they decided to foster the baby facing everything… and fetching water
from the pond, Neema poured two drops of water into the mouth of the baby. The face of the
baby bloomed like a fresh flower. Those two drops of water proved like the nectar for the baby.
Divine virtues were visible in the baby. Getting the baby in that manner was proving like a boon
for Neeru and Neema for the each passing moment. First, taking the baby as the grace of Allah.
Education and institutions of education like Hindu and Moslem primary schools in those days
were largely in the hands of Pundits and Maulavies. Since Kabir belonged to a low-class weaver
family, he was turned away from both Hindu and Moslem primary schools. He could not get his
right to the basic education. Thus, Kabir could not read primary books either in Pathashalas of
Pundits or Maktabs of Maulavies. But later on, he received the complete knowledge of written
words in the company of pious people. Thus, the general saying about Kabirthat he had no
knowledge of letters or that he was illiterate shows nothing but complete ignorance.
He is unusual in that he is spiritually significant to Hindus, Sikhs, and Muslims alike. His early
upbringing is much clearer. Kabir was raised among a Muslim community of weavers. He was
never formally educated and was almost completely illiterate. I emphasis the word "almost"
because, according to legend, the only word that he ever learned how to write was "Rama".
The basic religious principles he espouses are simple. According to Kabir, all life is an interplay
of two spiritual principles. One is the personal soul (Jivatma) and the other is God
(Paramatma). It is Kabir's view that salvation is the process of bringing into union these two
divine principles.
The social and practical manifestation of Kabir's philosophy has rung through the ages. It
represented a synthesis of Hindu, and Muslim concepts. From Hinduism he accepts the concept
of reincarnation and the law of Karma. From Islam he takes the affirmation of the single god and
the rejection of caste system and idolatry. Not only has Kabir influenced Muslims and Hindus
but he is one of the major inspirations behind Sikhism as well.
Kabir, the most popular of Bhakti poets, was probably born in the 15th century in the general
area of Benares, and earned his living as a weaver. Many legends have attached themselves to his
name — that he was born of a Hindu mother but brought up as a Muslim, that he was influenced
by Sufi or Kundalini practices, performed miracles and lived to over 100 years of age — but
little is known for certain: even his occupation is supposition, from frequent allusion in his
poems. In all probability, Kabir was born into poverty and stayed poor. His name appears in
stories from Gujarat, Maharashtra, Bengal, Punjab and Madhya Pradesh, suggesting that Kabir or
his disciples travelled these areas, teaching and propounding his sayings. For Kabir, life is an
interplay of two spiritual principles, of the personal soul and of God: salvation comes by
bringing these two together. From Hinduism Kabir accepted reincarnation and the law of Karma.
From Islam he took the affirmation of the single god and the rejection of caste system and
idolatry. Kabir's thought has influenced Sikhism, and his sayings are still very much loved and
quoted
Kabir was illiterate, but his transcribed sayings may have numbered 2,000 songs and 1,500
couplets. The impression is not the sonorous impersonality of Kalidasa, or the pithy good sense
of Bhartrihari, but spiritual truth expressed in the most simple and direct language. He espoused
honesty, conviction and simplicity, renewed continuously by inner experience and propelled by
an unceasing detachment from the web of physical and intellectual realities. How the sayings
were transcribed is not known, and Kabir seems to have been much more concerned with
changing hearts and minds than with poetry per se, suggesting that much attributed to him has
been embellished and added to. Kabir’s great contribution is his down-to-earth metaphors and
examples: comparing God to a weaver, body to a cloth, Guru to a washerman, ignorance to a
crow, cosmic experience to the ocean, senses to the deer, humility and steadfastness to the tree,
grace and beauty of solitude and completeness to a swan, longing for God to the longing of a
newly-wed bride. The experiences have to be lived, when his words flower into a variety of
experiences that are not immediately obvious. The words are suggestive, as in all poetry, but it is
what is gradually unveiled that is truly significant.
About the realities of his life, he was strictly against the bookish knowledge and held totally
different ideals regarding education. He never gave much importance to the text-bookish
knowledge. From the Vaani of Kabir, it becomes apparent that he regarded acquisition of such a
capability as education as would act as a catalyst to stimulate the thoughts. He was not ready to
recognize such education as would retard one's thoughts:
Pothi Parh-Parh Jag Mua, Pundit Bhaya Na Koy.
Dhai Akhar Prem Ka, Parhai So Pundit Hoy

Kabir has written much poetry and song. His lyrics are characterised by a free use of the
vernacular, and is unfettered by the grammatical bonds of his day. It is this quality which has
made his philosophy accessible to generations of Indians.

Births and Deaths:-

His birth and death are surrounded by legends, as nothing certain is known about his birth or
death. He grew up in a Muslim weaver family, but some say he was really son of a Brahmin
widow and was adopted by a childless couple.
One popular legend of his death, which is even taught in schools in India (although in more of a
moral context than a historical one), says that after his death his Muslim and Hindu devotees
fought over his proper burial rites. The problem arose since Muslim custom called for the burial
of their dead, whereas Hindus cremated their dead. The scene is depicted as two groups fighting
around his coffin one claiming that Kabir was a Hindu, and the other claiming that Kabir was a
Muslim. However, when they finally open Kabir's coffin, they found the body missing. Instead
there was a small book in which the Hindus and Muslims wrote all his sayings that they could
remember; some even say a bunch of his favourite flowers were placed. The legend goes on to
state that the fighting was resolved, and both groups looked upon the miracle as an act of divine
intervention. In Maghar, his tomb or Dargah and Samadhi Mandir still stand side by side.

Life of Saint Kabir…..

Kabir is associated with the Sant Mat, a loosely related group of teachers (Sanskrit: Guru) that
assumed prominence in the northern part of the Indian sub-continent from about the 13th
century. Their teachings are distinguished the ologically by inward loving devotion to a divine
principle, and socially by an egalitarianism opposed to the qualitative distinctions of the Hindu
caste hierarchy and to the religious differences between Hindu and Muslim.
The first generation of north Indian Sants, (which included Kabir), the mid 15th century.
Preceding them were two notable 13th and 14th century figures, Namdev and Ramananda. The
latter, a Vaishnava ascetic, initiated Kabir, Raidas, and other Sants, according to tradition.
Ramanand's story is told differently by his lineage of "Ramanandi" monks, by other Sants
preceding him, and later by the Guru Nanak and subsequent Sikh Gurus. What is known is that
Ramananda accepted students of all castes, a fact that was contested by the orthodox Hindus of
that time, and that his students formed the first generation of Sants
Kabir saheb says – "My Lord is present in every living being. Not a single corner is free from his
presence. Rama and Rahim are one, and Keshav and Karim are not different. Paramatma
(Supreme Being) is not present in any temple and mosque, He is present in every living being.
Those, who do not know that soul. Which present right within their body, are ignorant. Ishwar
and Allah and also commit abhorrent deeds… ultimately kill the animals cutting their throats and
say that they do use to do Halal(to kill slowly and painfully) the animals in the name of Khuda.
Kabir saheb declares all such people as imprudent.

Philosophies
Kabir was influenced by prevailing religious mood such as old Brahmanic Hinduism, Hindu and
Buddhist Tantrism, teachings of Nath yogis and the personal devotinalism from South India
mixed with imageless God of Islam.[10] The influence of these various doctrines is clearly
evident in Kabir's verses. Even though he is often presented to be synthesizer of Hinduism and
Islam: the observation is held to be a false one.
The basic religious principles he espouses are simple. According to Kabir, all life is interplay of
two spiritual principles. One is the personal soul (Jivatma) and the other is God (Paramatma). It
is Kabir's view that salvation is the process of bringing into union these two divine principles.
The social and practical manifestation of Kabir's philosophy has rung through the ages. It
represented a synthesis of Hindu and Muslim concepts. From Hinduism he accepts the concept
of reincarnation and the law of Karma. From Islam he takes the outer practices of Indian Sufi
ascetics and Sufi mysticism. Not only has Kabirinfluenced Muslims and Hindus but he with
Guru Nanak, their lifespan do not overlap in time.[13] The presence of much of his verse in Sikh
scripture and the fact that Kabir was a predecessor of Nanak has led some western scholars to
mistakenly describe him as a forerunner of Sikhism.

Literature
His greatest work is the Bijak (that is, the Seedling), an idea of the fundamental one. This
collection of poems demonstrates Kabir's own universal view of spirituality. His vocabulary is
replete with ideas regarding Brahman and Hindu ideas of karma and reincarnation. His Hindi
was a vernacular, straightforward kind, much like his philosophies. He often advocated leaving
aside the Qur'an and Vedas and to simply follow Sahaja path, or the Simple/Natural Way to
oneness in God. He believed in the Vedantic concept of atman, but unlike earlier orthodox
Vedantins, he followed this philosophy to its logical end by spurning the Hindu societal caste
system and worship of murti, showing clear belief in both bhakti and sufi ideas. The major part
of Kabir's work as a Bhagat was collected by the fifth Sikh guru, Guru Arjan Dev, and forms a
part of the holy Sikh scripture "Guru Granth Sahib". A weaver by profession, Kabir ranks among
the world's greatest poets. In India, he is perhaps the most quoted author. The Holy Guru Granth
Sahib contains over 500 verses by Kabir. The Sikh community in particular and others who
follow the Holy Granth, hold Kabir in the same reverence as the other ten Gurus.
While many ideas reign as to who his living influences were, the only Guru of whom he ever
spoke was Satguru. Kabir never made a mention of any human guru in his life or verses, the only
reference found in his verses is of God as Satguru.

Poetry & Couplet

"The poetry of mysticism might be defined on the one hand as a temperamental reaction to the
vision of Reality: on the other, as a form of prophecy. As it is the special vocation of the mystical
consciousness to mediate between two orders, going out in loving adoration towards God and
coming home to tell the secrets of Eternity to other men; so the artistic self-expression of this
consciousness has also a double character. It is love-poetry, but love-poetry which is often
written with a missionary intention. Kabîr's songs are of this kind: out-births at once of rapture
and of charity. Written in the popular Hindi, not in the literary tongue, they were deliberately
addressed—like the vernacular poetry of Jacopone da Todì and Richard Rolle—to the people
rather than to the professionally religious class; and all must be struck by the constant
employment in them of imagery drawn from the common life, the universal experience. It is by
the simplest metaphors, by constant appeals to needs, passions, relations which all men
understand--the bridegroom and bride, the guru and disciple, the pilgrim, the farmer, the migrant
bird--that he drives home his intense conviction of the reality of the soul's intercourse with the
Transcendent. There are in his universe no fences between the "natural" and "supernatural"
worlds; everything is a part of the creative Play of God, and therefore--even in its humblest
details—capable of revealing the Player's mind."
His poems resonate with praise for the true guru who reveals the divine through direct
experience, and denounced more usual ways of attempting god-union such as chanting,
austerities etc. His verses, which being illiterate he never expressed in writing and were spoken
in vernacular Hindi, often began with some strongly worded insult to get the attention of passers-
by. Kabir has enjoyed a revival of popularity over the past half century as arguably the most
acceptable and understandable of the Indian saints, with an especial influence over spiritual
traditions such as that of Sant Mat and Radha Soami. Prem Rawat ('Maharaji') also refers
frequently to Kabir's songs and poems as the embodiment of deep wisdom.

O SERVANT, where dost thou seek Me?

Lo! I am beside thee.
I am neither in temple nor in mosque: I am neither in Kaaba nor in Kailash:
Neither am I in rites and ceremonies, nor in Yoga and renunciation.
If thou art a true seeker, thou shalt at once see Me: thou shalt meet Me in a moment of
time.
Kabîr says, "O Sadhu! God is the breath of all breath.
—SONGS OF KABÎR, translated by Rabindranath Tagore

We can understand the message of kabir by these couplets . which is applicable in life in this
time also . the couplets are in vernacular language but passes a clear and true picture of human
life. Some of them are..

Chalti Chakki Dekh Kar, Diya Kabira Roye

Dui Paatan Ke Beech Mein,Sabit Bacha Na Koye

Translation:-
Looking at the grinding stones, Kabirlaments
In the duel of wheels, nothing stays intact.
Understanding:-
.The wheels are made of stone. One is stationary while the other on top is made to rotate by
turning it with This doha picks up a situation from our daily life. Kabir watches the woman
grinding wheat on the flour mill. I have used the word woman here as generally it is the woman
who does this work even today in the rural Indian societythehelp of a handle attached to it. The
grain that is put into it gets crushed and the converted flour comes out. Thus the literal
translation given above conveys

Bura Jo Dekhan Main Chala, Bura Naa Milya Koye

Jo Munn Khoja Apnaa, To Mujhse Bura Naa Koye
Translation:-
I searched for the crooked, met not a single one
When searched myself, "I" found the crooked one
Understanding:-
This dohadeals with our perception behavior and tendencies. It has been invariably noticed that
we tend to find fault with someone else for our situations and circumstances. Our "I", the ego,
always tries to put blame on others. Non-awareness of our own self is the cause of this attitude.
Resultantly, we find ourselves being busy in criticizing and condemning others and conveniently
term them as crooked or evil.

Isee Vani Boliye, Mun Ka Aapa Khoye

Apna Tan Sheetal Kare, Auran Ko Sukh Hoye
Translation:-
Speak such words, sans ego's ploy Body remains composed, giving the listener joy
Understanding:-
This dohais a gem. It deals with human psychology, metaphysics and a basic tenet of the Indian
philosophy. The ancients of the Vedic literature have laid tremendous emphasis on speech. They
have mentioned in innumerable shlokas that our speech has a direct connection with our bodily
humors. They proclaimed that sound and sight are the underlying source of all vibrations. This
has been scientifically proven over and over again.We knowthat all sounds create vibrations.
And these vibrations affect both the speaker and the listener. Soothing, compassionate and loving
words breed togetherness, while harsh speech breeds hatred. And, we also know that human
speech is one of the main ingredient that differentiates mankind from the rest of the animal
kingdom.

Thus, Kabir, in this doha crystallizes the power of the spoken word. He teaches us to speak in
such a manner that keeps us harmonious and composed thereby making the listener feel a sense
of joy in the communication.Experimentyourself and rediscover the power of the spoken word

Jaise Til Mein Tel Hai, Jyon Chakmak Mein Aag

Tera Sayeen Tujh Mein Hai, Tu Jaag Sake To Jaag
Translation:-
Like seed contains the oil, fire in flint stone, Yourtemple seats the Divine, realize if you can
Understanding:-
What is real and how is it veiled?

Kabira Khara Bazaar Mein, Mange Sabki Khair

Na Kahu Se Dosti, Na Kahu Se Bair
Translation:-
Kabira in the market place, wishes welfare of all .Neither friendship nor enmity with anyone at
all
Understanding:-
Kabir, the professional weaver, visited the market place to sell his woven goods. Now selling is a
competitive affair and all kinds of strategies are adopted by merchants to make the extra buck.
Sometimes the strategy can even be a dirty trick or a scam.
In this doha, as is his style, Kabir without saying much, presents a balanced approach. He seems
to affirm that while conducting one's business, one need not adopt tricky means and should not
become emotional. An honest deal does not warrant the businessman to become either friendly
with one's clientele nor develop any malice. This is one of the important maxims of Do's and
Don'ts of any progressive business.
From spiritual and mystic point of view, Bazaar is a reference to the world itself where give and
take, is the mechanism of dealings...i.e. all relationships at the physical level are conditional and
based on business-like (not literally business) transactions. So Kabir is giving us an idea of how
we experience ups and downs due to attachments - i.e. due to strong feelings towards or against
things. And he says the best way to avoid that is by being in a state of acceptance and
detachment.

Kaal Kare So Aaj Kar, Aaj Kare So Ub

Pal Mein Pralaya Hoyegi, Bahuri Karoge Kub
Translation:-
Tomorrows work do today, today's work now if the moment is lost, the work be done how
Understanding:- This doha is a little difficult to translate, particularly when the words "Pal mein
Pralaya Hoyegi", have been translated by many scholars as the doomsday may come at any
moment or in similar words. In my understanding Kabir, would not have meant this. He knew
more than anyone else that if God is eternal, his creation is also eternal. Also being a Guru,
Kabirwould not like to talk about doomsday, as he himself was full of life.

Ganga Gusain Gahari Gambhir !

Janjeer Bandhi Kari Kharai Kabir !
Mana Na Digai Tana Kahai Ko Darai !
Charan-Kamal Chitt Rahyo Samai !
Ganga Ki Lahari Meri Tooti Janjeer !
Mrig Chhala Par Baithe Kabir !

One story is famous regarding Sikandar lodi call Kabir to come in his Darbar. He refused to
come saying what the need of me in kings palace. After request he went there. Kazi informed –
Jahanpanah ! Kabir refuses to salute you. He declares some 'Rama' as his Badshah. For the first
time, Sikandar Lodhi raised his eyes to look at Kabir. But he felt as if he were looking at a
glowing fire-ball. His eyes dazzled by the glory of Kabir and he began to faint because of anger.
Next moment, gathering his consciousness, Sikandar Lodhi shouted – “Kabir” now you will live
no more. I will see who is your Rama and how He save you ? At that time Kabir uttered the
following Sakhi(couplet) –

Jaako Rakhe Sainya, Maar Sake Na Koy !

Baal Na Banka Kari Sakai, Jo Jag Bairy Hoy !!

Sikandar Lodhi said furiously – Kabir now get ready to go to the hell, nobody can save you.
Then Lodhi ordered his soldiers to enchain Kabir and throw him into the Ganges. Soldiers
carried out the order perfectly and threw Kabir saheb into the Ganges after enchaining him
tightly. Kabir saheb knew the procedure of Jalasana. With his Yoga-power he removed the chains
and sat on the water surface taking a comfortable posture, come aside –

There is one more poem which is written by Kabir and it translated by ravindranath tagore:-

There's A Moon Inside My Body

The moon shines in my body, but my blind eyes cannot see it:
The moon is within me, and so is the sun.
The unstruck drum of Eternity is sounded within me; but my deaf ears cannot hear it.
So long as man clamours for the I and the Mine, his works are as naught:
When all love of the I and the Mine is dead, then the work of the Lord is done.
For work has no other aim than the getting of knowledge:
When that comes, then work is put away.
The flower blooms for the fruit: when the fruit comes, the flower withers.
The musk is in the deer, but it seeks it not within itself: it wanders in quest of grass.

Understanding:-
guru kumbhar ek saman,ghad ghad mare ghot. pat andhar se hat dhare aur bahar mare chot...
kabir saheb compares guru with a man who make the clay pots (potter) while he make pots he
hits the clay by one hand but give support by another one same way guru sometime gets rude to
us but to make our life as beautiful and useful similar to pot.
Introduction

He India's greatest Sanskrit poet and dramatist. In spite of the celebrity of his name, the time
when he flourished always has been an unsettled question, although most scholars nowadays
favor the middle of the 4th and early 5th centuries A.D., during the reigns of Chandragupta II
Vikramaaditya and his successor Kumaaragupta. Undetermined also is the place of Kaalidaasa's
principal literary activity, as the frequent and minute geographic allusions in his works suggest
that he traveled extensively.
He has made a distinct and glorious contribution to this sumptuous Sanskrit literature is
Kalidasa. He has pictured in his works the beauty in life and pondered upon how we can give
pleasure to others by generous and graceful behavior.His portrayals are vivid and heart-
warming; his wordpower is unique. In a few words he is capable of bringing out the entire
meaning intended. His writings touchingly show up a noble, meaningful mode of life for the
people to pursue. His works are an intellectual treat to thinkers and common readers alike
Kalidasa possessed that distinct intellect which makes one a great poet. He was a scholar and his
works display his poetic genius as well as scholarship. Also they are marked by a belief of what
is good in life and people's noble goals of life. He could describe the rich and wealthy life of a
royal palace and the serene, simple and peaceful life at a hermitage with equal understanding. He
could, likewise, describe the joys of the marital life of a man and his spouse as well as their
pangs of separation. He creates scenes of a serious and thoughtful nature as also hilarious scenes
of light comedy. In his works is found an excellent combination of art-consciousness, unmatched
wordpower and an unparalleled capacity for vivid portrayals
It appears Kalidasa was at the court of emperor Vikramaditya. The place and time of this king are
also not definite. But it can be said with some certainty that Kalidasa lived before the 6th century
A.D., i.e., about 1400 years agoKalidasa wrote seven works. 'Kumarasambhava' and
'Raghuvamsha'are his two epic poems. 'Malavikagnimitra', 'Vikramorvashiya' and 'Abhijnana
Shakuntala' are his celebrated plays. 'Meghaduta' and 'Ritusamhara' are also poetical works of
great distinction.
Kalidaswasn't always so wise and learned. In fact, there was a time he was considered to be one
of the stupidest people in the kingdom! one story says that he was the son of a Brahmin and lost
his parents while he was a baby of six months. A cowherd brought him up; he had no schooling
of any sort. At that time, a king named Bheemashukla ruled over Kashi (Banaras). He wanted his
daughter Vasanti to marry Vararuchi, a scholar in his court. But she refused saying she was
herself a greater scholar than he was. Vararuchi was furious.
One day, the King's minister happened to see this cowherd-boy sitting atop a tree in a forest and
attempting to fell the tree by axing its roots. " What a fool! He should be an ideal husband to
Vasanti!" rethought and brought the boy to the capital. The minister and Vararuchi instructed the
boy not to say anything except 'Om Swask to any questions put to him at the palace, dressed him
up in elegant clothes and took him to the royal presence. The boy was good-looking and they
made Vasanti to believe that he was a great scholar.Vasanti married him and only later came to
know of the truth. She was grief-stricken. She was a devout worshipper of goddess Kali and
taught her husband to worship her. However, no amount of his devotional prayer could please the
Goddess and finally, he vowed to offer his life in sacrifice if She did not bless him. The goddess
relented and inscribed some letters on his tongue. He then became a great poet- scholar. Since
goddess Kali blessed him, he assumed the name of 'Kalidasa' (devotee of Kali).
Traditionally he is believed to have been the court poet, one of thenine jewels of Vikramaditya.
Hiswork Raghuvansam too hasreferences that the ‘maser poet’ was of the first century B.C.
Buthis ‘Malavikagnimitra’ places him in the second century B.C. as the court poet of Agnimitra
Sanga.

Literature
Kalidas'scontribution to Indian literature is tremendous. Though his writings were in Sanskrit,
they have been translated into numerous languages. While numerous writings have been
attributed to him, only seven works are proved to be genuinely his.
Malavikaagnimitra (Malavikaa and Agnimitra)
Vikramorvashiiya (The story of Urvashi and Pururavas)
Abhigyanashakuntala (Shakuntala)
Of these plays, Kalidas is best known for the play Shakuntala, which has gone on to receive
worldwide attention. Shakuntala was first translated into English, then into German, and then
into several other western languages. The other four works were poems.mainly his epics -
Raghuvansha and Kumaar-sambhavam; `khanDakaavyaa' - Meghadoot; and dramas - abhigyaan-
shaakuntalam, Vikrama-uravasheeya, and Malavikaa-agnimitra are considered his works for
sure. Apart from that `Ritu-sanhaar and Shruta-bodh are considered his works as well.

'Kumara- sambhava'
One of Kalidasa's greatest works is 'Kumarasambhava'. Critics maintain that Kalidasa wrote only
the first eight chapters of the epic poem. The work describes the marriage of Lord Shiva and his
consort Parvati.Parvati is the daughter of Parvataraja, the King of the Himalayas. In course of
time she blossomed into a girl of matchless beauty. She was very good-looking, like a fine
portrait drawn by a master-painter.. Parvati's speech was sweet as the playing of the Veena. And
her bearing reminded one of a deer.Narada, a great sage in our epics, is a wandering minstrel. He
once came to the court of Parvataraja, and predicted that the king's daughter would marry Lord
Shiva. But Parvataraja was doubtful whether Lord Shiva would accept the bride. Neither he to
ask Shiva nor did the latter came forward to ask for the hand of Parvati. Shiva was in penance
atop one of the biggest mountains in the Himalayas. Parvataraja sent his daughter to serve the
Lord who acquiesced to have her near him. Parvati served him with utmost, pure hearted
devotion; she would daily cleanse his place of penance, and keep ready the articles of 'Tapas' like
pure water, leaves of grass, flowers, etc.

While Shiva sat thus in penance, a 'Rakshasa' named Tarakasura began to trouble the Devas.
They, in panic, went to Lord Brahma, the creator of the universe, and sought salvation. He told
them that Parvati had. To marry Lord Shiva and that the son born out of their wedlock would be
able to defeat demon Taraka.

Devendra is the king of the Devas. One of the Gods at his court was Kama (Manmatha) whose
wife was the beautiful Rati. Kama had the capacity to make any one desire to
marry.Devendracommanded him to see that Lord Shiva would develop a wish to marry Parvati.
Kama, Rati and their friend Vasanta (Lord of spring) set about the task.
. Kama was overwhelmed on seeing the exquisite grace of Lord and the cupid's bow and arrow
fell down without his being aware of it. At This great beauty of Parvati inspired Kama, who
hitherto was somewhat, dejected, again to strive to fulfil his task. Parvati raised her hands to
offer her garland of lotus flowers to Shiva who also eagerly came out of his penance to accept
the offering. Kama was waiting for such a moment and exercised his 'sword of love'. Shiva eyed
Parvati once and immediately realised that he had been weaned away. From his penance. How
could this happen?

Lord Shiva was angry and opened his Third Eye. A great fire flowed forth. Kama was burnt to
ashes and Shiva then disappeared. Rati, seeing her husband destroyed collapsed unconscious.
Parvati's father sorrowfully took her to his home. Regaining consciousness after some time, Rati
lamented that she too would end her life. Then a voice from the sky told her that Kama would
come back to life when Lord Shiva married Parvati.Meanwhile, Shiva then appeared to her in his
true form. Parvati on seeing his divine form was overwhelmed. She stood glued to the ground not
knowing what to do. The poet's description of this scene is extraordinarily beautiful.Parvati sent
word through her maid to Shiva to ask him to talk to her father about their marriage. Shiva
thereupon sent a message to him through the seven great Sages. The king of the Himalayas
gladly agreed. The marriage took place in a grand style.
the beauty of Parvati, Shiva, in his anger at being disturbed in his penance, burns down Kama,
puts Parvati's mind and thoughts to test, sends the seven Great Sages to Parvataraja -- thus
exhibiting his maturity ofmind. In fact, Shiva was not enamoured by the physical beauty of
Parvati and only destroyed Kama who attempted to make him desire her physically. Actually he
admired her several fine, noble qualities and her devout penance. Both he and Parvati were
performing penance and leading a life of sacrifice -- i.e., 'tapasya'. Both were embodiments of
purity. Born to them was Kumara. His parents' penance fortified him with strength to destroy the
demon Taraka.
'Raghuvamsha'
Kalidasa's second epic is 'Raghuvamsha'. There are nineteen chapters ('sargas') in this poem. The
epic describes the history of the kings Dileepa, Raghu, Aja, Dasharatha, Sri Rama, Lava and
Kusha. It also deals briefly with the twenty kings from Nala up to Agnivarna.In thebeginning, the
poet extols the fine qualities of the kings of Raghu dynasty.
As they grew old, they renounced the kingdom in favor of the younger incumbents and led a life
of saintly renunciation and ultimately renounced the mortal life by way of 'yoga'. They earned
wealth so that they would offer it to the worthy who are in need. They liked to conquer a
kingdom for the thrill of success.. The poet asserts that his main aim in writing this poem is to
celebrate the ideal royal qualities of the kings of the clan of Raghu and to portray the history of a
galaxy of such men. The story begins with king Dileepa.Dileepa, as portrayed by the poet, was a
majestic personality. He was impressively built, broad-shouldered, tall. In effect he personified
Wshatradharma' (the royal tradition). His intellect matched his physique. thereupon offers his
own body as food for the lion. Then the lion disappears. In fact the lion was the creation of
Nandini herself to test the king. She blesses him and says he would beget children when he drank
her milk.In due course, Sudakshina gives birth to a son who was named Raghuraja. The poets'
description gives us a fine picture of a great king devoted to truth and highest moral and spiritual
ideals. The close contact between the kings and sages and the fact that great personalities are
born when the heroic king is blessed by a sage whose life is a saga of purity, are narrated
memorably.

The poet then goes on to tell us the story of Raghu. Even while he was the Prince, he had
displayed his prowess byprotecting the horse his father had sent out on a victorious march at the
time of conducting an Ashwamedha (a sacrifice featuring a highbred horseRaghu defeated
several kings and expanded his domain, conducted a great sacrifice called Vishwajit Yaga and
then gave away all his worldly riches in charity. At that time, Kautsa, the son of a sage, comes
and asks for some money to pay as 'Gurudakshina' A son is born to Raghu and. is named Aja. He
was extremely good-looking and of a tender nature..he then goes to the confluence of the rivers
Ganga and Sarayu and breathes his last in that holy spot.The poet has illustrated 'Kama' ('desire
for pleasure') in the life of Aja. Kalidasa lists twenty kings belonging to the Raghu dynasty who
ruled after Atithi. According to the poet, Agnivarna, the last of this clan, was a pleasure-seeker
who forgot his kingly duties and obligations.
'Shakuntala'
'Malavikagnimitra' is Kalidasa'sfirst play. The author shows his humility and is uncertain
whether people would accepts play. He pleads 'Puranamityeva Na sadhu sarvam,Na
chapikavyamnavamityavadyam' (Everything old is not good, nor is every thing knew badly).
There may be some thing, which may not be of much use in the old, and the new may also be
good. The theme of the play is the love-story of Agnimitra and Malavika.
Kalidasa's second play 'Vikramor -vashiya' is about the loves and tribulations of king Pururava
and the heavenly damsel 'Urvashi'.

'Abhijnana Shakuntala' is Kalidasa's greatest creation. This literary masterpiece has been
translated into several languages around the world.The story of Shakuntala appears in the
'Adiparva' chapter of the epicMahabharata. King Dushyanta, whiles on a gaming expedition
(safari), and arrives at the hermitage of sage Kanva. The latter was away and his adopted
daughter Shakuntala looks after the distinguished guest's needs. Dushyanta, immediately on
seeing her, is struck by her beauty and offers to marry her. Shakuntala lays down a condition that
the king should promise to hand over the kingdom to the son born to her and Dushyanta agrees.
They marry and spend some happy days, after which the king returns to the capital. Shakuntala,
in course of time, gives birth to a son who is named Sarvadamana.Six years pass and still
Dushyanta does not send for his spouse and son. Sage Kanva voluntarily decides to send
Shakuntala to the nalace. When she arrives at Dushyanta's abode, he refuses to recognize her.
Shakuntala is grief- stricken. Then amidst her lament a heavenly voice commands Dushyanta:
"He is your son. Accept him." The king then takes him in and the boy later comes to be
renowned as Bharata.
Kalidasa weaves a great play basing on this Mahabharata theme. The first meeting of Dushyanta
and Shakuntala is a lively, 'colorful sequence in the play. Dushyanta, in the course of his huntin
Expedition arrives at Kanva's hermitage and there in the garden he sees Shakuntala engaged in
watering the plants along with her maids. Mesmerized by her beauty, he desires to marry her
while Shakuntala also is deeply impressed by the sight of the royal dignitary. They then marry in
the 'Gandharva' style. The king returns to the capital while Shakuntala, left behind does not
directly ask for the king's promise to make her son the prince consort to succeed him. It is
supposed to be understood. After the king returns, sage Durvasa comes to call on sage Kanva.

Poetry Work
Meghaduta
Meghaduta' is a beautiful love-lyric. A 'Yaksha', who is forced to be separated from his mistress
for a year, sends her a message. The lady is residing at Alakanagari. 'Go and tell her that I told
so', instructs the Yaksha to the cloud who becomes his messenger. The very fact that a cloud
('Megha') is chosen to be a messenger of love is something unique. The poet fascinatingly
describes the travels of the cloud from Ramagiri to Alkanagri.
Alakanagari
Alakanagari. The rivers, hills and mountains, cities and towns, vast fields, farmers' daughters as
well as girls in the cities, the birds and the bees -- are all described by the poet vividly. It is a
total picture of a beautiful world. His descriptions of Alakanagari, the Yaksha's house and the
garden around, theYaksha's wife playing the Veena and her grace and beauty are captivating.
Ritusamhara
'Ritusamhara' is a somewhat small-scale poetical creation depicting the six seasons. However, it
is equally appealing. The poet here sees beauty in everything. Each different facet of nature he
sees in each of the seasons fascinates him; it is a romantic sight.

Analysis
Kalidasa is considered as the greatest poet of `shringaar' (or romance, beauty) His works is
brimming with shringaara-rasa. Sometimes he has used `haasya' (comedy) and `karun.' (pathos).
There are two aspects of `shringaar' - Meghadoot is immersed in the `vipralambha-shringaar'.
Kumara-sambhavam's 8th chapter is epitome of `sambhoga-shringaar'. 4th chapter of Kumars
(Rati-vilaapa) and 8th chapter of Raghu-vansha (aja-vilaapa) are superb examples of `karuN.-
rasa' (pathos). Kalidasa's comedy is of the highest order. (Bharata in his Natya-shaastra mentions
8 types of comedy from the crudest of physical comedy resulting in guffawing loud laughter to
the most subtle where the heart smiles). Kalidasa's comdey brings a gentle smile, not a loud
guffaw.
Kalidasa uses artha-alankaar more than the former. He is famous for his `upamaa' (metaphor?).
Indian pundits say, ``upamaa kaalidaasasya'' (upamaa like Kalidasa's). His upamaa are clear,
complete and beautiful. His observation is sharp and subtle. He knows the nature and human
nature in and out. He has a sound knowledge of the scriptures. His `utprekshaa' (simile) and
`artha-antaranyaas' (transfer of meaning) are also very beautiful. He has used some `shabda-
alankaar's as well. `anupraasa' (alliteration), `yamaka' (same word repeated with different
meaning), and `shlesha' (pun; one word two meanings). Kalidasa loves the softer side of nature.
He mentions serene and beautiful ashramas, river banks, gardens, palaces, bumblebee, deer,
cuckoo etc. He loves Himalayas more than the Vindhyaachal (both mountain chains).
Kalidasa knew the human psychology deeply. What humans think in what situation. He also
knew women's psychology very well. He is a master of expressing emotions through actions.
This brings extra dimension to his work (Remember the shlok about Parvati counting the lotus
leaves when her marriage proposal was being discussed?). In continuation to the shlok (about
The great rishi asking parvati's hand from Himalaya for Shiva), Kalidasa says, ``and then
Himalaya glanced at Mena'' It is uderstood that he was seeking Mena's approval ``as every good
householder should include his wife's opinion in every decision''. (So, women's oppression is a
pretty later development)
Kalidasa expresses inner world and the external world equally well. Among the objects of
metaphors, he knows exactly how much importance to give to which one. He only describes the
major attribute of the thing being compared. He also maintains the chronological order of events
(else you get what is called kaala-dosha = time decrepancy). e.g. here is a shlok about Parvati
meditating hard to win Shiva:
In his works is found an excellent combination of art-consciousness, unmatched wordpower and
an unparalleled capacity for vivid portrayals. He has COMPLETE control over language. His
language is very chaste as per the grammar. His words are very selective. Kalidasa, however, had
good knowledge of the whole of Bharat. In his poem 'Meghaduta', his descriptions of mountains
and rivers and cities and villages stretching from Ramagiri in Central India up to Alakanagari in
the Himalayas are very beautiful. In another epic poem 'Raghuvamsha', Kalidasa, while
portraying the conquests of emperor Raghu, describes the places and peoples, their modes of
living, food-habits and trades
and professions, rivers and mountains in almost the whole country -- Assam, Bengal and Utkal in
the East; Pandya and Kerala in the South and Sind, Gandhara and other places in the North-west.