Śakuntalā has often been adapted and translated to conform to people's demands. Prevailing genres and cultural aspects were added to the show each time, allowing for the inclusion of contemporary dynamics or themes. Contrasting individuals, both rich and poor, would alter plot points, as well as the characters themselves, providing historians with unique manifestations of the same work. The Braj version (1716) of the work Śakuntalā preserved the longevity of the text, while providing a modern twist on Kalidasa's version (300–400 CE). Nawāz Kaveṡvara narrated the drama in the vernacular, as a mixture of the Mahabharata version and the Kalidasa version, and in a manner that incorporated the prevailing style of local poetry. Individuals like Kaveṡvara would have prevented Śakuntalā from fading into the distant past, making her part of the present again. In 1716, a nobleman, after returning from a successful campaign, asked a well-known poet of the time named Nawāz Kaveṡvara to translate Śakuntalā into “Braj-ki-boli”. This was the language of common people, which allowed everyone to read this classic comedy for themselves. Originally only the wealthy, such as members of the Mughal court, could enjoy ancient writings such as Śakuntalā (Thapar 90). It was then that the work could really grow in popularity as it could not be picked up and read by most people. The character, Śakuntalā, daughter of Vishvamitra and Menka, would remain imprinted in people's minds. This would allow a variety of individuals with different points of view to analyze the Śakuntalā. Some will side with her independent nature, while others would simply see her as a woman who stood… in the center of the card… (Thapar 190-1). Sakuntala was destined to have a happy ending with the king, regardless of the difficulties they would face. The atmosphere around the show was representative of what was to come in the show. All in all, the Braj version of the work Śakuntalā has preserved the longevity of the text, while also providing a modern twist to Kalidasa's version. This new version took concepts from the past and present to create something that all of society could enjoy. Nawāz Kaveṡvara narrated the drama in the vernacular, as a mixture of the Mahabharata version and the Kalidasa version, and in a manner that incorporated the prevailing style of local poetry. Śakuntalā's ability to change with the times would always guarantee her a place in today's society. Works Cited Thapar, Romila. Śakuntalā: texts, readings, stories. London: Anthem Press, 2002. Print.