Thread by @aurvabhrg

On the topic of Historic fiction: I guess an author should be allowed the liberty to add minor modifications while retelling an actual history iff
1. It enhances the experience of Rasa within the reader/viewer.
2. It does not subvert the original narrative.

At best the modifications should be embellishments that heightens the aesthetic experience.
Modifications done in order to promote ideologies are the worst.

When a respected Pauranika character speaks in the language of a 21st century woke-bro, the aesthetic experience plummets. Because inherently people do have an understanding of what is noble and what is base. 21st century woke morality, that appeals to the LCD is far from noble.

Let us take an example. The story of Shakuntala is narrated in the Mahabharata. Dushyanta falls in love with Shakuntala, marries her through Gandharva Vivaha while her father Kanva wasn't in the Ashrama. Then he goes back to his kingdom promising to send for her.

A son is born to Shakuntala from Dushyanta. When the child becomes six years of age, Kanva asks his disciples to take Shakuntala and her son to Dushyanta's kingdom.

Here, initially the King refuses to recognize them both. But a voice from the sky spoke to the gathering...

...informing everyone that Shakuntala is indeed Dushyanta's wife and the son Sarvadamana is Dushyanta's son. Dushyanta accepts them. This is how the Mahabharata Story ends.

Now, if we look at Kalidasa's "Abhijñānaśākuntalam" we find a few innovations ...

...which act as embellishments to the narrative.

1. Before taking leave of Shakuntala after their marriage, Dushyanta gives her his ring, and tells her to show it to his countrymen as a proof of her being wedded to him, when he sends for her.

2. One day Shakuntala, lost in the thoughts of Dushyanta fails to recognize the arrival of Durvasa, who curses her that whoever she is so deeply thinking about, may he/she forget her.

3. While crossing the river to reach Dushyanta's palace, Shakuntala plays in the river water by dipping her palm into the water. A fish gobbles up the ring on her finger, which was given to her by Dushyanta.

4. Dushyanta, fails to recognize her She is unable to show the ring.

Thus, disheartened she goes away.

5. A few days later some fishermen find the ring in the stomach of the fish, and gives it to Dushyanta. He then recollects his lovely wife. A changed man, he repents. Strengthening his resolve, he helps Indra in a battle against the Asuras.

6. When he gets back to earth from Swarga, Dushyanta chances upon a young kid playing with the lion's cubs. He accosts the kid and asks him to take him to his parents.

The kid is Sarvadamana, and its mother is none other than Shakuntala.

Clearly this narrative is richer compared to the rather straightforward narrative that is found in the Mahabharata. Kalidasa, a master craftsman that he was, was able to take an existing piece of jewelry and embellish it further to make it more beautiful.

He did not distort the original ornament in anyway, but instead he was able to, with his keen eye, find opportunities within the structure of the ornament where he could install the gems that he had uncovered. IMO, this is be the way a re-teller ought to follow. /END