Sakuntala vs. Western plays

An interesting observation in Act II is how the first hermit, despite his own asceticism, approves of the king's dedication to the worldly life; each must play his appropriate role. His penance is described in extreme form. A number of the symptoms of love which the king lists are familiar from the love-sickness symptoms used by Western poets such as Ovid. The fact that Anasuya says the vine has chosen the mango hints at the fact that although Sakuntala may be free to choose her own husband, like a princess, despite the many statements to the contrary. Because the audience knows the story already, it is not crucial to evoke suspense and provide climactic moments as in Western drama; what is important is to evoke the relevant moods. He plays a major role in the creation myths. When Kama disturbed Shiva's meditations, he wrathfully destroyed the love-god with fire emanating from his third eye. We see how the forgetfulness of the Chamberlain foreshadows the forgetfulness of the king. Like many lovers in Western fiction, she is so far gone in love that she will soon die if she does not find relief. Sakuntala is adorned by a miracle (caused by her stepfather's powers), another sign that this union is blessed, despite its inauspicious beginning. Originally animals were sacrificed and burned as in Judaism or ancient Greek practice, but fruits, flowers, incense, etc. Typical of the Indian preference for variety, Kama - unlike Cupid - has no fewer than five different kinds of arrows, each of which causes a different kind of love.

In Act III, cooling salves were used in high summer, and can also signify that the user is burning with passion.

In Act IV, there is an ominous foreshadowing in Anasuya's second speech. The churning of cream into butter is one of the most common activities of Indian life and a frequent symbol for creation.