Kalidasa in the context of "Bharata (Mahabharata)"

An abugida (/ˌɑːbuːˈɡiːdə, ˌæb-/ ; from Geʽez: አቡጊዳ, 'äbugīda)—sometimes also called an alphasyllabary, neosyllabary, or pseudo-alphabet—is a segmental writing system in which consonant–vowel sequences are written as units; each unit is based on a consonant letter, and vowel notation is secondary, like a diacritical mark. This contrasts with a full alphabet, in which vowels have status equal to consonants, and with an abjad, in which vowel marking is absent, partial, or optional. In less formal contexts, all three types of script may be termed "alphabets". The terms also contrast them with a syllabary, in which a single symbol denotes the combination of a consonant and a vowel.

Related concepts were introduced independently in 1948 by James Germain Février (using the term néosyllabisme) and David Diringer (using the term semisyllabary), and in 1959 by Fred Householder (introducing the term pseudo-alphabet). The Ethiopic term "abugida" was chosen as a designation for the concept in 1990 by Peter T. Daniels. Faber suggested "segmentally coded syllabically linear phonographic script"; William O. Bright used the term alphasyllabary; and Gnanadesikan and Rimzhim, Katz, & Fowler suggested aksara or āksharik.

The Gupta Empire was an Indian empire during the classical period of the Indian subcontinent which existed from the mid 3rd century to mid 6th century CE. At its zenith, the dynasty ruled over an empire that spanned much of the northern Indian subcontinent. This period has been considered as the Golden Age of India by some historians, although this characterisation has been disputed by others. The ruling dynasty of the empire was founded by Gupta.

The high points of this period are the great cultural developments which took place primarily during the reigns of Samudragupta, Chandragupta II and Kumaragupta I. Many Hindu epics and literary sources, such as the Mahabharata and Ramayana, were canonised during this period. The Gupta period produced scholars such as Kalidasa, Aryabhata, Varahamihira and Vatsyayana, who made significant advancements in many academic fields. Science and political administration reached new heights during the Gupta era. The period, sometimes described as Pax Gupta, gave rise to achievements in architecture, sculpture, and painting that "set standards of form and taste [that] determined the whole subsequent course of art, not only in India but far beyond her borders". Strong trade ties also made the region an important cultural centre and established the region as a base that would influence nearby kingdoms and regions in India and Southeast Asia. The Puranas, earlier long poems on a variety of subjects, are also thought to have been committed to written texts around this period. Hinduism was followed by the rulers and the Brahmins flourished in the Gupta empire but the Guptas were tolerant towards people of other faiths as well.

Abhijnanashakuntalam (Devanagari: अभिज्ञानशाकुन्तलम्, IAST: Abhijñānaśākuntalam), also known as Shakuntala, The Recognition of Shakuntala, The Sign of Shakuntala, and many other variants, is a Sanskrit play by the ancient Indian poet Kālidāsa, dramatizing the story of Śakuntalā told in the epic Mahābhārata and regarded as the best of Kālidāsa's works. Its exact date is uncertain, but Kālidāsa is often placed in the 4th century CE.

Shakuntala (Sanskrit: शकुन्तला, romanized: Śakuntalā) is a heroine in ancient Indian literature, best known for her portrayal in the ancient Sanskrit play Abhijnanashakuntalam (The Recognition of Shakuntala), written by the classical poet Kalidasa in the 4th or 5th century AD. Her story, however, originates in the Hindu epic, the Mahabharata (c. 400 BC - 400 AD), where she appears in the Adi Parva ("The Book of Beginnings"). In both narratives, Shakuntala is the daughter of the sage Vishwamitra and the celestial nymph Menaka. Abandoned at birth, she is raised by the sage Kanva in a forest hermitage. She later falls in love with King Dushyanta and becomes the mother of Bharata, a celebrated emperor of India.

In the Mahabharata, Shakuntala introduces herself to Dushyanta when he visits her hermitage during a hunting expedition in the absence of her foster father, Kanva. The two fall in love and secretly marry according to the Gandharva tradition (a love marriage), consummating their union in the forest. Afterward, Dushyanta returns to his palace life and gradually forgets about Shakuntala. Years later, she approaches him with their son, Bharata, but he hesitates to acknowledge them. Outspoken and fearless, Shakuntala rebukes him forcefully until a celestial voice intervenes to confirm the truth, compelling Dushyanta to accept her and their son.

Dushyanta (Sanskrit: दुष्यन्त, IAST: Duṣyanta) is a king of the Chandravamsha (Lunar) dynasty featured in Hindu literature. He is the husband of Shakuntala and the father of Bharata. He appears in the Mahabharata and in Kalidasa's play, Abhijnanashakuntalam (c. 300 CE).

Urvashi (Sanskrit: उर्वशी, IAST: Urvaśī) is the most prominent apsara mentioned in the Hindu scriptures like the Vedas, the epics Ramayana and Mahabharata, as well as the Puranas. She is regarded as the most beautiful of all the apsaras, and an expert dancer.

Urvashi has been featured in many mythological events. She emerged out of the thigh of sage Narayana and occupies a special place in the court of Indra, the king of the gods and ruler of svarga. She is famous for her marriage with Pururavas, the first king of the legendary Chandravansha, whom she later abandoned. She also plays a significant part in the birth of Vashishtha and Agastya, two of the most revered sages in Hinduism. Urvashi's story has been an inspiration for various arts, performances and literature. The poet Kalidasa (fl. 4th -5th century CE) has adapted Urvashi and Pururavas as the main characters in his play Vikramorvashiyam.