2026

The Nandi-Prastāvanā In Kālidāsa’s Three Dramas— (Abhijñānaśākuntalam, Mālavikāgnimitram, And Vikramorvaśīyam:) A Comparative Study With Bharata’s Nāṭyaśāstra

Author(s): Prof.Vani Bhandaram

Abstract

The Nandi prastāvanā, the ritual invocation that opens Sanskrit drama, is prescribed by Bharata in his Nāṭyaśāstra as a consecratory and dramaturgical device intended to establish, auspiciousness and orienting the audience toward the intended Rasa. Kālidāsa, in his three extant plays—Abhijñānaśākuntalam, Mālavikāgnimitram, and Vikram-orvaśīyam—adapts this tradition with poetic refinement, aligning invocations to Śiva with the thematic sensitivity and emotional core of each drama. The present paper undertakes a comparative study of Kālidāsa’s Nandi verses and prastāvanās in relation to Bharata’s dramaturgical prescriptions, analyzing their ritual, aesthetic, and narrative functions. Through textual analysis and correlation with the Nāṭyaśāstra, it demonstrates that Kālidāsa not only preserves the ritual significance of the Nandi but also transforms it into artistic prelude, embedding thematic foreshadowing, rasa orientation, and symbolic imagery within the invocatory verses. The paper further examines the structure of the Prastāvanā, the role of the Sūtradhāra, and the application of dramatic devices such as Prayogātiśaya and Vīthy-aṅgas. In addition, the study explores the modern relevance of Nandi, drawing parallels with contemporary theatre prologues, cinematic openings, organizational rituals, and pedagogical practices. The paper establishes that Kālidāsa harmonizes Bharata’s dramaturgical principles with poetic innovation, elevating the Nandi prastāvanā into a timeless structural archetype that preserves dramaturgical wisdom while transcending cultural and historical boundaries.