By Indira Viswanathan Peterson
"Explores the earliest literary therapy of Arjuna's conflict with the good god Siva, supplying an advent to the Sanskrit court docket epic."
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Extra resources for Design and rhetoric in a Sanskrit court epic: the Kirātārjunīya of Bhāravi
It is the arena of adventure, of encounter with gods, mysterious beings and powers. It is also the venue for amassing spiritual power or for world-renunciation, for seeking liberation from birth and death by practising asceticism (tapas) involving yoga and control of the senses. 27 The symbolism and atmosphere of the Forest Book translate beautifully into the kavya ¯ idiom. atra-dharma) ¯ in relation to the scheme of the four ends of human existence. At the beginning of the Mahabh ¯ arata’s ¯ Forest book, the exiled Pan ¯ .
Draupad¯i makes a ﬁery speech, rebuking the king for his inaction and urging him to wage war. Canto II. Strong man Bh¯ima, second of the ﬁve brothers, supports Draupad¯i and exhorts the king to ﬁght with the enemy. hira refuses, extolling the virtues of patience, and saying that they should wait till the right opportunity presents itself. The sage Vyasa ¯ appears. ¯iya The Setting and Structure of the Kirat ¯ arjun ¯ 31 Canto III. a. The way to strength, says the sage, is for Arjuna to perform penance (tapas) in order to win celestial weapons from Indra, king of the gods.
46) Mallinatha ¯ gives the following summary view of the poem: The hero is the middle one of the Pan ¯ . avas, a partial incarnation of Lord Nar ¯ ayan ¯ . u). For the sake of establishing his (the hero’s) superiority, however, the divine hunter was described in some detail. The erotic and other rasas occur as subordinate moods. The principal rasa in this poem is the heroic in its aspect of victory in combat. The poem contains several descriptions, such as the description of a mountain. ”59 It is ¯iya evokes “combat heroalso generally accepted that the Kirat ¯ arjun ¯ ¯ ism” (yuddhavira), as opposed to the other three varieties of v¯ira ¯ira), relidescribed by the later poeticians: generous heroism (danav ¯ gious heroism (dharmav¯ira), and compassionate heroism (dayav ¯ ¯ira).