A History of Sanskrit Literature c12.s1.3.1

c12.s1.3.1

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;