The Sanskrit Drama in its Origin, Development, Theory & Practice c12.s3.12

c12.s3.12

The range of Kālidāsa’s technical knowledge is apparent in his skilled use of the dance and song to set off his dramas; the Mālavikāgnimitra contains an interesting exposition by the dancing master of the theory of the art and its importance; not only is Mālavikā a dancer, but Ṣakuntalā shows her skill in movement in Act I. The songs of the trees and of Haṃsavatī in the same play enable him to add a fresh interest to the drama, and in the Vikramorvaçī spectacular effects seem to have been aimed at, while in the Bengālī recension song is prominently introduced in Act IV of the Vikramorvaçī.