A History of Sanskrit Literature c12.s1.3.3

c12.s1.3.3

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).