takes herself to another enterprise in offering sacrifice of her personal feelings in having imposed upon herself the segregation of her child for the sake of elongating the period of her union with the hero. Shakuntala's bringing up the child in Mareecha's Ashram was again an emergency affair, a result of the hero's folly, whereas Urvashi's attempt to rear her child in the ashram of Chyavan was a feat of her endurance and a specimen of her real love for Pururavas. That is why Urvashi is a heroine of a higher order in respect of her chaste love, though Shakuntalā can surpass her in her quick and hasty love. So far as quick love alone is concerned, Urvashi does not fall short there as she also falls in love at the first sight of Vikram, but has had no hasty love as found in Shakuntala, a character, on the other hand, portrayed by Kalidasa to offer didactic lesson to all advocates of free love in showing a series of serious calamities befalling a young girl in making an easy, hasty and indiscreet surrender of herself to one, who to all appearances glittered as gold, (Cf:रामादिवत् प्रवर्तितव्यं न तु रावणादिवत्).
The Sentiment in the Play :-The permanent emotion prevailing throughout this play is love between Pururavas and Urvashi, which is manifested by the ensuant actions of gentle talk and amorous glances and is excited by cool breeze, seasonal pleasures and also pluvial joys attended with auxiliary feelings of anxiety, purturbance and the like. The ruling sentiment in the drama is love and love in union, The sentiment is fostered by other subordinate sentiments as those of love in separation or a befitting and light comic here and there.
The scheme of the manifestation of sentiment in this play is in no way unlike to his other dramatic compositions. There is in Malavikagnimitra and also in Shakuntal the same sentiment of love in union or Sambhoga sringar interspersed with a light, casual comic and a regular separation. According to the popular convention "न विना विप्रलम्भेन संभोगः पुष्टिमश्रुते" the poet is very fond of introducing Vipralambha in the theme of his plays.
POORVARAG:Kalidasa has put in a stage where there is purva-rag, that is, love unaccomplished in all his plays; though the length of this suspense differs in each case. In Mālavikaānimitra, from the point of observing Malavika in a group photograph to the stage of Agnimitra's acquisition of Mālavikā in the Sea Mansion, there is Poorva- rag type of Vipralambha, '.which covers about two-thirds of his drama
