Madhavya Disgusted with Dushyanta’s Obsession for Hunting

Yearning for Shakuntala, Dushyanta is not inclined to return to his capital Hastinapur wishing to remain at his camp set at the outskirts of the forested sanctuary of sage Kanva’s hermitage. Dushyant, longing to meet Shakuntala, plans an excuse for his entry into the hermitage on some pretext. His close friend and confidante, Madhavya, on the other hand does not share Dushyant’s enthusiasm for an indefinite sojourn in the woodlands, and is disgusted with life in the camp. Madhavya, the poor Brahmin, used to palatial comforts and rich delicious food, is sick of long days of riding and hunting and desires at least a day’s respite.

In the text Madhavya humorously voices his aversion to life in the forest and the hermitage where, according to him, one lives like a savage. His articulate protest defines his character as opposite to his friend the King Dushyant - while Madhavya is used to the luxurious comforts of court, has become soft and used to an indolent lifestyle, the king in his pursuance of the rigorous lifestyle exemplifies the virtues and qualities of a warrior-king, taking pleasure in pursuits of hunting that sharpen his martial skills and demonstrate his control over his territory characterizing him as a brave, worthy king.

In a lengthy monologue in the text, Madhavya complains that the hunt has shaken up his joints. He objects to drinking tepid water from the streams, to eating scorching hot meat at odd hours, to the disturbing noises of the elephants and horses at night, and of the bird catchers that hinder his sleep. He declares his life’s purpose to lead a comfortable and luxurious existence, living on a succulent diet of soft and sweet food. Physically depicted in the text as ugly and fat, he heightens the contrast with the handsome, romantic hero.

In the painting however, Madhavya is depicted as a different contrast. He is not depicted as ugly but, unlike the young King, is portrayed as an older companion with greying hair, loose sagging skin and with wrinkles emerging around his eyes, a slight paunch around his middle, suggesting the ill-effects of an idle and indolent lifestyle.

In the painting, the artist depicts Madhavya voicing his concerns to Dushyant, who leans on a bolster keenly listening to his friend’s protests. The other attendants and courtiers of the king watch the scene from afar not intruding on their personal space, oblivious to their conversation.