A History of Sanskrit Literature c12.s1.3

Language: English

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His *Kirātārjunīya*² is based, as usual, on the epic. The *Mahābhārata*³ tells us how, when the Pāṇḍavas with their wife Draupadī have retired under their vow of twelve years' banishment to the Dvaita forest, Draupadī, with truly feminine faithlessness, urges the heroes to break their pledge. A council is held; Yudhiṣṭhira pleads for the bond; Bhīma controverts his contentions. Vyāsa counsels retirement from the Dvaita forest, and the brothers go to the Kāmyaka wood, where Yudhiṣṭhira takes the prudent course of bidding Arjuna, as a preliminary to war, to secure from Çiva divine weapons. Arjuna obeys, practises in the Himālaya severe penances, meets and struggles with a Kirāta, who proves to be Çiva himself; he grants the boon desired, to which the other gods add further largesse. This theme Bhāravi has chosen to expand and illustrate with all the resources of a refined and elaborate art. The opening shows at once the hand of the artist; in the epic the discussion of the brothers arises merely from the dreary plight in which they are placed; Bhāravi begins instead with the return of a spy whom Yudhiṣṭhira has sent to report on the deeds of Suyodhana—as he is always styled; he bears the unwelcome tidings that the king is walking in the ways of virtue and charming the hearts of the people. Hence, naturally, Draupadī, anxious for the future, taunts Yudhiṣṭhira with his inglorious plight and urges swift battle (i). Bhīma adds his support;

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Yudhiṣṭhira, the unready, has scruples of honour (ii), but seeks counsel from Vyāsa, and the sage admits that war must be, but, since the foe is so strong, urges that Arjuna should by penance in the Himālaya win Indra's aid. He vanishes, but a Yakṣa appears to lead Arjuna on his way, and they depart, cheered by the good wishes of the remainder of the party (iii). At this point the poet's invention displays itself in elaboration; just before, by omitting all mention of the move to the Kāmyaka wood, he had shortened the narrative, improving greatly the effect; now he takes the opportunity to display the poet's command of language. In Canto iv the Yakṣa leads Arjuna on; and a brilliant picture is drawn of the autumnal scene, partly in narrative, partly in the mouth of the Yakṣa. Then follows (v) the description of the Himālaya itself, the Yakṣa lays stress on the mystery which guards it and on its close kinship with Çiva and Pārvatī, and vanishes after bidding Arjuna do penance on Indrakīla. The penance of Arjuna terrifies the Guhyakas, the spirits who haunt Indrakīla; they appeal to Indra to aid them, and he sends Gandharvas and Apsarases to disturb the asceticism which menaces the quiet of his mountain (vi). The heavenly host speeds through the air to Indrakīla and makes there its camp; their elephants merit special description (vii). The Apsarases now leave their palaces, just made by their magic power, and wander in the woods to pluck the flowers;

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then the Ganges invites them to the bath, and the bathing scene is described with much charm and beauty (viii). Evening comes, the sun sets, the moon arises—the banal theme wins new effect through the poet's skill; the nymphs and their lovers drink and seek the pleasures of love; the day dawns (ix). The Apsarases now turn their minds to their task; aided by the seasons who now appear six in number to second their efforts, they expend, but in vain, all their charms on the young ascetic (x). Seeing his minions thus foiled through Arjuna's constancy, Indra appears himself in the guise of a sage, admires the fervour of the penance, but contends that to bear arms and practise asceticism are inconsistent; Arjuna admits the logic of the censure, but asserts that he will do all to save his family's honour. Indra is touched, reveals himself, and bids him win the favour of Çiva (xi). Here ends the poet's invention, and we again find the epic as his source. Arjuna continues his penance in order that Çiva may bless him; the seers in distress appeal to the great god, who expounds to them Arjuna's divine nature as an incorporation of Nara, a part of the primeval spirit; a demon Mūka in boar form plans to slay him; therefore Çiva bids his host follow him to guard the prince (xii). The boar appears to Arjuna; it falls pierced by his own and Çiva's dart; the prince advances to recover his arrow, but is challenged by a Kirāta who claims it in his master's name (xiii).

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Arjuna rejects the demand in a long speech; the Kirāta returns, and Çiva launches, but in vain, his host against Arjuna, who endures unscathed the shower of their arrows (xiv). The host is rallied from flight by Skanda and Çiva himself, who then begins a deadly battle of arrows with Arjuna (xv). The two then strive with magic weapons, the hero is beaten (xvi), but grasps again his bow, and with sword, mighty rocks, and the trunks of great trees assails the god, but all in vain (xvii). They box, at last they wrestle; Çiva reveals his true form, and the hero, humbled at last, praises the greatness of the god and begs him for strength and victory; the god and the world guardians, who come to the scene, accept his devotion and give him the magic weapons that he craves.