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Abhang

(“unbroken”) Poetic form characteristi-
cally used by the saint-poets of the
Varkari Panth, a religious community
centered around the worship of the
Hindu god Vithoba. Each abhang is usu-
ally made up of four lines, with an abbc
rhyme scheme. Although each abhang is
a complete poem in its own right, they
are often strung together in groups, to
create either a longer narrative poem (in
which each abhang stands as one
segment) or a group of poems devoted
to a common theme. Such versatility
made it one of the dominant poetic
forms in the Marathi language, just as
the dohaform is ubiquitous to medieval
and modern Hindi.

Abhava

(“[knowledge from] absence”) Abhava is
one of the two means of valid knowledge
(pramana) unique to the Purva
Mimamsa school of philosophy, the
other being presumption (arthapatti). All
Indian philosophical schools concern
themselves with codifying pramanas,
that is, the means by which human
beings can gain true and accurate knowl-
edge. Behind this concern lies the basic
Hindu religious goal of learning to live,
act, and think in a way that leads to the
final liberation of the soul from the cycle
of reincarnation (samsara). Almost all
schools accept perception (pratyaksha),
inference (anumana), and authoritative
testimony (shabda) as pramanas. The
Purva Mimamsa school claims that
abhava, or perception of the absence of
something (“there is no jug in this room”),
is a means of knowledge that cannot be
accounted for by the other pramanas.

Abhaya Hasta

In Indian dance, sculpture, and ritual, a

particular hand gesture(hasta) in which

the hand is held with the palm facing

out, with the fingers together and point-

ing upward. The word abhayameans

“without fear,” and the gesture is meant

to reassure the viewer that all will be

well. This hand gesture can be found in

most depictions of the Hindu gods and

goddesses, particularly when the deity

in question has multiple hands.

Abhijnanashakuntala

(“Recognition of Shakuntala”) Drama

written by Kalidasa (5th c. C.E.), who is

widely considered the greatest classical

Sanskritpoet. The Abhijnanashakuntala

describes the trials and troubles of the

mythical heroine Shakuntala and is con-

sidered Kalidasa’s greatest drama. In the

story, Shakuntala, the daughterof the

sage Vishvamitra and the celestial

nymph Menaka, attracts the eye of

King Dushyanta while he is away from

his kingdom on a hunting trip.

Shakuntala and Dushyanta marry by

mutual consent, in what is known as a

gandharva marriage. After their mar-

riage, Dushyanta returns to his king-

dom. Shakuntala remains at her home

and has the misfortune to irritate the

sage Durvasas, who cursesher to be

forgotten by her beloved. Shakuntala

pleads with Durvasas, who is moved to

mitigate the curse such that

Dushyanta will remember everything

if Shakuntala can show Dushyanta a

sign of their union. Dushyanta had

given Shakuntala his signet ring, but

she loses it before she can see him.

Denied by Dushyanta, Shakuntala

endures numerous trials until she

finds the ring in the belly of a fish.

When Dushyanta sees the ring, he

immediately recognizes Shakuntala

(hence the play’s name), and they live

happily ever after.

The Abhijnanashakuntalahas two

features that characterize most classical

Sanskrit plays. One is the preference for

a happy ending, although this resolution

Abhijnanashakuntala