Note the insistence on the multifaceted nature of the divine, so different from the Christian insistence on its unity. For the devout Hindu, this play is more than a captivating love story; it is a religious drama on at least two levels. On the simplest level it teaches the doctrine of karma, that our experiences are influenced by our acts earlier in this life and in past lives. It is also an allegory of the relationship between the worshiper and the sacred. Each play is also expected to convey a certain set of emotions and attitudes called a rasa. Here the rasa is composed of various forms of eroticism and love

Whereas Westerners are used to religion demanding a single standard of morality for everyone (

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. Gods (Rama in particular) and great Kings are often portrayed as destroyers of demons. Again, the dialogue foreshadows the next important plot development, which simultaneously (and not coincidentally) provides the king with the excuse he has been longing for to stay with the hermits.

Finally in Act VII, we see that just as Duhsanta met Sakuntala initially because of his reverence for the ascetics on Earth, so he is reunited with her through his reverence for the divine ascetic Marica, son of Brahma and father of Indra, who is king of the gods. Thus he resembles Duhsanta, father of the king of men. He plays a major role in the creation myths. His penance is described in extreme form. Marica is so absorbed in his meditations that he has lost all track of his body, so that a snake has shed its skin on his torso to create a second sacred thread (usually a piece of twine worn by all Brahmin males); but this is more than a symbol of mere negligence since a snake-skin thread is also characteristic of Shiva.. Again the throbbing arm of the king foreshadows his reunion with his bride. It is also worth noting that the true consummation of this romance is not the reunion of the loving couple as in most Western plays, but the encounter of the king with his son, destined to be the greatest of kings. The king is always exhibited as a noble and moral person, and his sense of morality is shown by his not asking about Sakuntala. In many countries, particularly Muslim ones, it is considered highly offensive to inquire after a man's wife or in any way imply that he may have one. This is in stark contrast to Western attitudes where it is common to ask about a person's wife, "How's the missus?"

In Western drama foreshadowing is used to heighten suspense or to create a sense of doom threatening human happiness. In Sanskrit drama foreshadowing instead creates a sense of purpose, of inevitability, linked to the concept of karma. The wheel, symbol of the reign of the benevolent emperor Asoka, is pictured on the flag of modern India as a symbol of Hinduism. Fire is central to Hindu ritual. Originally animals were sacrificed and burned as in Judaism or ancient Greek practice, but fruits, flowers, incense, etc. are more commonly sacrificed today. The Himalayas have long been famed as the site of particularly devout mystics, giving rise to the Western stereotype of the guru on the mountain top.

or at most having slightly different emphases for men and women), in Hinduism that which is

Some common words found in the essay are:
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Approximate Word count = 1795
Approximate Pages = 7 (250 words per page double spaced)