Hakeem Nafeesurrahman Thanvi at 16:58, 21 October 2025

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{{Short description|Hindu epic poem by Bhāravi}}
{{italic title}}
{{Use dmy dates|date=July 2025}}
{{Use Indian English|date=July 2025}}
{{Infobox religious text
| image = File:Kiratarjuniya.jpg
|caption = [[Arjuna]] receives the [[Pashupatastra]] from [[Shiva]]. Painting by [[Raja Ravi Varma]], 19th century.
| author = [[Bharavi|Bhāravi]]
| religion = [[Hinduism]]
| language = [[Sanskrit]]
| verses =
| period = [[Kadamba dynasty|Kadamba]]-[[Pallava dynasty|Pallava]]
}}

'''''Kirātārjunīya''''' ({{langx|sa|किरातार्जुनीय}}, ''Of Kirata and Arjuna'') is an [[Epic poetry|epic poem]] by [[Bhāravi]], written in [[Sanskrit]].<ref>{{Cite book|last=Singh|first=M. P.|title=Encyclopaedia of teaching of history|publisher=Institute for Sustainable Development|year=2002|isbn=81-261-1243-3|edition=1st|location=Lucknow|pages=297|oclc=631660227 }}</ref> Believed to have been composed in the 6th century or earlier, it consists of eighteen [[Canto|cantos]] describing the combat between [[Shiva]] (in the guise of a ''[[kirata]]'', or "mountain-dwelling hunter"), and [[Arjuna]]. Along with the [[Naishadha Charita|''Naiṣadhacarita'']] and the ''[[Shishupala Vadha]]'', it is one of the larger three of the six Sanskrit [[mahakavya]]s, or great epics.<ref>{{Harvnb|Har|1983|p=iii}}</ref> It is noted among Sanskrit critics both for its gravity or depth of meaning, and for its forceful and sometimes playful expression. This includes a canto set aside for demonstrating linguistic feats, similar to [[constrained writing]]. Later works of epic poetry followed the model of the ''Kirātārjunīya''.

==Synopsis==
===Overview===

[[File:Kiratarjuna.jpg|thumb|left|[[Arjuna]] fights with the [[Kirata]]-[[Shiva]]]]

The ''Kirātārjunīya'' predominantly features the ''Vīra [[Rasa (aesthetics)|rasa]]'', or the mood of valour.<ref>{{citation | year=2006 | title = The Encyclopaedia Of Indian Literature Volume One (A To Devo) | editor=Amaresh Datta | publisher=Sahitya Akademi | isbn=978-81-260-1803-1 | page=462 | url=https://books.google.com/books?id=ObFCT5_taSgC&q=kiratarjuniya&pg=PA462}}</ref><ref>{{Cite journal|last=Rajarajan|first=R.K.K.|date=2021|title=From Purāṇic to Folk: the 'Kirātārjunīyam Ballade' and Visuals|url=https://www.academia.edu/49196507|journal=Eikón / Imago|volume=10|pages=355–366|doi=10.5209/eiko.74158 |s2cid=237980745 |doi-access=free}}</ref> It expands upon a minor episode in the ''[[Vana Parva]]'' ("Book of the Forest") of the ''[[Mahabharata]]'': While the [[Pandavas]] are exiled in the forest, [[Draupadi]] and [[Bhima]] incite [[Yudhishthira]] to declare war with the [[Kauravas]], while he does not relent. Finally, Arjuna, at the instruction of [[Indra]], appeases [[Shiva]] with penance (''[[tapasya]]'') in the forest. Pleased by his austerities, Shiva decides to reward him.

[[File:Myths of the Hindus & Buddhists - Kirat-Arjuna.jpg|thumb|upright|''Kirata-Arjuna'', by [[Nandalal Bose]], 1914]]
When a demon named [[Mukasura|Muka]], in the form of a wild boar, charges toward Arjuna, Shiva appears in the form of a kirata, a wild mountaineer. Arjuna and the kirata simultaneously shoot an arrow at the boar, and kill it. They argue over who shot first, and a battle ensues. They fight for a long time, and Arjuna is shocked that he cannot conquer this kirata. Finally, he recognises the god, and surrenders to him. Shiva, pleased with his bravery, gives him the powerful weapon, the [[Pashupatastra]]. Apart from Arjuna, no one possessed Pashupatastra in the ''Mahabharata''.<ref>{{citation | year=1876 | title = The London quarterly review, Volume 46 | author1=John Telford | author2=Benjamin Aquila Barber | editor1=William Lonsdale Watkinson | editor2=William Theophilus Davison | publisher=J.A. Sharp | page=324 | url=https://books.google.com/books?id=EZtIAAAAMAAJ&q=kiratarjuniya&pg=PA324}}
</ref><ref>{{citation | year=1989 | title = A companion to Sanskrit literature: spanning a period of over three thousand years, containing brief accounts of authors, works, characters, technical terms, geographical names, myths, legends, and several appendices | author1=Sures Chandra Banerji | edition=2 | publisher=Motilal Banarsidass Publ. | isbn=978-81-208-0063-2 | page=215 | url=https://books.google.com/books?id=JkOAEdIsdUsC&q=cantos&pg=PA215}}
</ref>

===The Cantos===

[[File:Arjuna-celestials.jpg|thumb|right|Arjuna, with the army of celestial maidens ([[apsara]]s) and musicians ([[Gandharva]]s) approaching. [[Kangra painting|Kangra]] watercolour, Himachal Pradesh, {{circa|1820}}.]]
There are 18 Cantos in this great work.
The following canto-by-canto description of the work is from [[A. K. Warder]].<ref name=warder/> Bharavi's work begins with the word ''[[Shri|śrī]]'' (fortune), and the last verse of every canto contains the synonym [[Lakshmi]].

'''I.''' A spy of the exiled king [[Yudhiṣṭhira|Yudhishthira]] arrives and informs him of the activities of the [[Kauravas]]. Yudhiṣṭhira informs the other [[Pandavas]], and his wife [[Draupadi]] attempts to incite him to declare war, upbraiding him for stupidly accepting the exile rather than breaking the agreement and declaring war to regain what is rightfully theirs.<br>
'''II.''' Bhima supports Draupadi, pointing out that it would be shameful to receive their kingdom back as a gift instead of winning it in war, but Yudhiṣṭhira refuses, with a longer speech. Meanwhile, the sage [[Vyasa]] arrives.<br>
'''III.''' Vyasa points out that the enemy is stronger, and they must use their time taking actions that would help them win a war, if one were to occur at the end of their exile. He instructs Arjuna to practise ascetism (''tapasya'') and propitiate [[Indra]] to acquire divine weapons for the eventual war. Arjuna departs, after being reminded by Draupadi of the humiliation she has suffered.<br>
'''V.''' Arjuna is led by a yaksha to the Indrakila mountain, which is described in great detail. Arjuna begins his intense austerities, the severity of which causes disturbance among the gods.<br>
'''VI.''' Meanwhile, a celestial army of nymphs ([[apsara]]s) sets out from heaven, in order to eventually distract Arjuna.<br>
'''VII.''' Description of their passage through the heavens.<br>
'''VIII.''' The nymphs enjoy themselves on the mountain.<br>
'''IX.''' Description of the night, with celebrations of drinking and lovemaking.<br>
'''X.''' The nymphs attempt to distract Arjuna, accompanied by musicians and making the best features of all six seasons appear simultaneously. However, they fail, as instead of Arjuna falling in love with them, they fall in love with Arjuna instead.<br>
'''XI.''' Finally, Indra arrives as a sage, praises Arjuna's asceticism, but criticises him for seeking victory and wealth instead of liberation — the goddess of Fortune is fickle and indiscriminate. Arjuna stands his ground, explaining his situation and pointing out that conciliation with evil people would lead one into doing wrong actions oneself. He gives a further long speech that forms the heart of the epic, on right conduct, self-respect, resoluteness, dignity, and wisdom. Pleased, Indra reveals himself to his son, and asks him to worship [[Shiva]].<br>
'''XII.''' Arjuna begins severe austerities, and, on being implored by the other ascetics, Shiva takes the form of a kirata and arrives to meet Arjuna.<br>
'''XIII.''' Both Arjuna and the kirata shoot the boar. Arjuna goes to retrieve his arrow, and one of the ''kirata''s quarrels with him.<br>
'''XIV-XVIII.''' Arjuna and Shiva fight. Arjuna fails and finally realizes whom he is facing, and surrenders to Shiva and wins his benediction.<ref name=warder/>

==Appraisal==
The work was popular among critics, with more than 42 commentaries written on it. The style of his work, with cantos 4 to 9 having no relation to the plot but instead being merely an excuse for beautiful descriptive poetry, was influential on all later Sanskrit epic poetry, in which the action was often ignored entirely.<ref name=das>{{citation | year=2006 | title = A history of Indian literature, 500-1399: from courtly to the popular | author1=Sisir Kumar Das | author2=Sahitya Akademi | publisher=Sahitya Akademi | isbn=978-81-260-2171-0 | pages=71–72 | url=https://books.google.com/books?id=BC3l1AbPM8sC&pg=PA71}}</ref>
Over a tenth of the verses from this work are quoted in various anthologies and works on poetics. The most popular verse is the 37th from the eighth canto, which describes nymphs bathing in a river, and is noted for its beauty. Another verse from the fifth canto (''utphulla sthalanalini...'') is noted for its imagery, and has given Bharavi the sobriquet of "Chhatra Bharavi",<ref>Lal, [https://books.google.com/books?id=KnPoYxrRfc0C&pg=PA4126&dq=kiratarjuniya p. 4126]</ref><ref name=winternitz/> as he describes the pollen of the lotus flowers being blown by the wind into a golden umbrella (''Chhatra'') in the sky. Thus, for having verses that are pleasing to lay people as well as clever verses appreciated by scholars, the work is considered to have 'harmony' or 'appropriateness' at all levels, and has been said to possess ''samastalokarañjakatva'', the quality of delighting all the people.<ref>Warder, pp. 230–232.</ref>

The ''Kirātārjunīya'' is the only known work of Bharavi and "is regarded to be the most powerful poem in the Sanskrit language".<ref>{{Cite book|last=Husain|first=S. Abid|title=The national culture of India.|publisher=Asia Publishing House|year=1961|location=Bombay, London|pages=68|language=en|oclc=316088831}}</ref> [[A. K. Warder]] considers it the "most perfect epic available to us", over [[Aśvaghoṣa]]'s ''[[Buddhacarita]]'', noting its greater force of expression, with more concentration and polish in every detail. Despite using extremely difficult language and rejoicing in the finer points of [[Sanskrit grammar]], Bharavi achieves conciseness and directness. His alliteration, "crisp texture of sound", and choice of [[Sanskrit metre|metre]] closely correspond to the narrative.<ref name=warder/>

==Linguistic ingenuity==
The work is known for its brevity, depth (''arthagauravam''), and verbal complexity. At times, the narrative is secondary to the interlaced descriptions, elaborate metaphors and similes, and display of mastery in the Sanskrit language.<ref name=winternitz>{{citation | year=1985 | title = History of Indian literature | author1=Moriz Winternitz | editor1=Subhadra Jha (transl.) | publisher=Motilal Banarsidass Publ. | isbn=978-81-208-0056-4 | page=71 | url=https://books.google.com/books?id=ql0BmInD1c4C&q=kiratarjuniya&pg=PA71}}</ref> Notably, its fifteenth canto contains ''[[Chitra-kavya|chitrakavya]]'', decorative composition, including the fifteenth verse with "elaborate rhythmic consonance"<ref>[http://www.britannica.com/EBchecked/topic/64041/Bharavi Bharavi: Encyclopædia Britannica Online]</ref> noted for consisting of just one consonant:<ref name=warder>{{citation | year=2004 | title = Indian Kāvya literature, Part 1 | author1=A. K. Warder | publisher=Motilal Banarsidass Publ. | isbn=978-81-208-0445-6 | page=225 | url=https://books.google.com/books?id=jTlLXw46g-cC&q=nunnanunnanut&pg=PA225}}</ref><ref>{{citation | year=1875 | title = Indian wisdom: or, Examples of the religious, philosophical, and ethical doctrines of the Hindūs: with a brief history of the chief departments of Sanskṛit literature, and some account of the past and present condition of India, moral and intellectual | author1=Sir Monier Monier-Williams | edition=2 | publisher=W.H. Allen | page=452 | url=https://books.google.com/books?id=IewdAAAAMAAJ&q=kiratarjuniya&pg=PA452}}</ref><ref>[https://books.google.com/books?id=PBIpAAAAYAAJ&pg=PT271 Canto 15, Verse 14]</ref>

<blockquote>
{{Col-begin}}
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<div class="center">
[[Devanagari]]<br>
न नोननुन्नो नुन्नोनो नाना नानानना ननु । <br/>
नुन्नोऽनुन्नो ननुन्नेनो नानेना नुन्ननुन्ननुत् ॥
</div>
{{Col-break}}
<div class="center">
[[IAST]]<br>
na nonanunno nunnono nānā nānānanā nanu ।<br/>
nunno'nunno nanunneno nānenā nunnanunnanut ॥
</div>
{{col-end}}

''Translation'': "О ye many-faced ones (''nānānanā''), he indeed (''nanu'') is not a man (''na nā'') who is defeated by an inferior (''ūna-nunno''), and that man is no man (''nā-anā'') who persecutes one weaker than himself (''nunnono''). He whose leader is not defeated (''na-nunneno'') though overcome is not vanquished (''nunno'nunno''); he who persecutes the completely vanquished (''nunna-nunna-nut'') is not without sin (''nānenā'')."<ref>{{citation | year=1860 | title = Nalopákhyánam: story of Nala : an episode of the Mahá-bhárata : the Sanskrit text, with a copious vocabulary, grammatical analysis, and introduction | author1=Sir Monier Monier-Williams | author2=Henry Hart Milman | publisher=University Press | url=https://books.google.com/books?id=gVwIAAAAQAAJ&q=nunnanunnanut&pg=PR24 | page=xxiv}}</ref>
</blockquote>

The 25th verse from the same canto is an example of the form of verse that the Sanskrit aestheticians call ''sarvatobhadra'', "good from every direction": each line (''pada'') of it is a [[palindrome]], and the verse is unchanged when read vertically down or up as well:<ref name=warder/>

<blockquote>
{{Col-begin}}
{{Col-break}}
देवाकानिनि कावादे <br/>
वाहिकास्वस्वकाहि वा ।<br/>
काकारेभभरे का का <br/>
निस्वभव्यव्यभस्वनि ॥

<br/>

devākānini kāvāde <br/>
vāhikāsvasvakāhi vā ।<br>
kākārebhabhare kā kā<br>
nisvabhavyavyabhasvani ॥
{{Col-break}}
{| style="text-align: center; width:200px;"
|- style="color:red;"
| de || vā || kā || ni || ni || kā || vā || de
|-
| style="color:red;" | vā || hi || kā || sva || sva|| kā || hi || style="color:red;" | vā
|-
| style="color:red;" | kā || kā || re || bha || bha || re || kā || style="color:red;" | kā
|-
| style="color:red;" | ni || sva || bha || vya || vya || bha || sva || style="color:red;" | ni
|-
| colspan=8 | (and the lines reversed)
|-
| style="color:red;" | ni || sva || bha || vya || vya || bha || sva || style="color:red;" | ni
|-
| style="color:red;" | kā || kā || re || bha || bha || re || kā || style="color:red;" | kā
|-
| style="color:red;" | vā || hi || kā || sva || sva|| kā || hi || style="color:red;" | vā
|- style="color:red;"
| de || vā || kā || ni || ni || kā || vā || style="color:red;" | de
|}
{{col-end}}
''Translation'': "O man who desires war! This is that battlefield which excites even the gods, where the battle is not of words. Here people fight and stake their lives not for themselves but for others. This field is full of herds of maddened elephants. Here those who are eager for battle and even those who are not very eager, have to fight."<ref name=gems>[http://nextfuture.sriaurobindosociety.org.in/aug07/nfaug07_wonder.htm Gems of Sanskrit literature] {{Webarchive|url=https://web.archive.org/web/20110721180739/http://nextfuture.sriaurobindosociety.org.in/aug07/nfaug07_wonder.htm |date=2011-07-21 }}, Dr. [[Sampadananda Mishra]], Sanskrit Research Coordinator, Sri Aurobindo Society, Pondicherry</ref>
</blockquote>

Similarly, the 23rd verse of the fifteenth canto is the same as the 22nd verse read backwards, syllable for syllable.<ref name=warder/>

The 52nd verse of the 15th canto is an example of ''Mahāyamaka'', or the great ''Yamaka'', where all four feet of the verse are the same, but each foot has a different meaning.

<blockquote>
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<div class="center">
[[Devanagari]]<br>
विकाशमीयुर्जगतीशमार्गणा विकाशमीयुर्जगतीशमार्गणाः । <br/>
विकाशमीयुर्जगतीशमार्गणा विकाशमीयुर्जगतीशमार्गणाः ॥
</div>
{{Col-break}}
<div class="center">
[[IAST]]<br>
vikāśamīyurjagatīśamārgaṇā vikāśamīyurjagatīśamārgaṇāḥ | <br/>
vikāśamīyurjagatīśamārgaṇā vikāśamīyurjagatīśamārgaṇāḥ ॥
</div>
{{col-end}}

''Translation'': "The arrows (''mārgaṇāḥ''), of the king (''jagatīśa'') ''Arjuna'' spread out (''vikāśam īyuḥ''). The arrows (''mārgaṇāḥ''), of the lord of the earth (''jagatīśa'') [i.e. Śiva], spread out (''vikāśam īyuḥ''). The ''Gaṇa''s (gaṇāḥ) who are the slayers of demons (''jagatīśamār'') rejoiced (''vikāśam īyuḥ''). The seekers (''mārgaṇāḥ'') of ''Śiva'' (''jagatīśa'') [i.e. the deities and sages], reached (''īyuḥ'') the sky (''vikāśam'') [to watch the battle]. "<ref>{{citation | year=1895 | title = The Kirātārjunīya of Bhāravi - With the commentary of Mallinātha and various readings | author1=Pandit Durgaprasad | author2=Kasinath Pandurang Parab | publisher=Tukaram Javaji | page=252}}</ref>
</blockquote>

==Offshoots and commentaries==
The earliest commentary of Kiratarjuniya was likely on Canto 15, by [[Western Ganga dynasty|Western ganga]] king [[Durvinita]] in Kannada, however, this work isn't extant.<ref>{{Citation |title=JSTOR |date=2023-01-29 |url=https://en.wikipedia.org/w/index.php?title=JSTOR&oldid=1136202811 |work=Wikipedia |language=en |access-date=2023-02-12}}</ref><ref>{{Citation |title=Durvinita |date=2023-02-03 |url=https://en.wikipedia.org/w/index.php?title=Durvinita&oldid=1137210596 |work=Wikipedia |language=en |access-date=2023-02-12}}</ref>

Bharavi's "power of description and dignity of style" were an inspiration for [[Māgha]]'s ''[[Shishupala Vadha]]'', which is modelled after the ''Kirātārjunīya'' and seeks to surpass it.<ref>{{citation | year=1999 | title = Ancient Indian History and Civilization | author1=Sailendra Nath Sen | publisher=New Age International | isbn=978-81-224-1198-0 | page=230 | url=https://books.google.com/books?id=Wk4_ICH_g1EC&q=kiratarjuniya&pg=PA230}}
</ref> While Bharavi uses 19 different types of [[Sanskrit metre|metres]], Māgha uses 23; while Bharavi praises Shiva, Māgha extols [[Vishnu]]; and he has his own instances of one-consonant (''dādadoduddaduddādī…'') and ''sarvatobhadra'' palindromic verses.<ref name="winternitz" />

A ''vyayoga'' (a kind of play), also named ''Kirātārjunīya'' and based on Bharavi's work, was produced by the Sanskrit dramatist Vatsaraja in the 12th or 13th century.<ref name=lal>{{citation | year=2006 | title = Encyclopaedia of Indian literature, Volume 5 | author1=Mohan Lal | publisher=Sahitya Akademi | isbn=978-81-260-1221-3 | page=4515 | url=https://books.google.com/books?id=KnPoYxrRfc0C&q=kiratarjuniya&pg=PA4515}}</ref>

The authoritative commentary on the ''Kirātārjunīya'', as on the other five ''mahakayva''s, is by [[Mallinātha Sūri|Mallinātha]] ({{circa|1500 CE}}). His commentary on the ''Kirātārjunīya'' is known as the ''Ghaṇṭāpatha'' (''the Bell-Road'') and explains the multiple layers of compounds and figures of speech present in the verses.<ref>{{citation | year=2002 | title = Mallinātha | author1=P. G. Lalye | publisher=Sahitya Akademi | isbn=978-81-260-1238-1 | url=https://books.google.com/books?id=Y0FfADSV6o4C}}</ref>

The first Western translation of the poem was by Carl Cappeller into German, published by the [[Harvard Oriental Series]] in 1912.<ref>{{citation | year=1912 | title = Bharavi's poem Kiratarjuniya: or, Arjuna's combat with the Kirata | author1=Bhāravi | author2=Carl Cappeller | publisher=Harvard University | url=https://books.google.com/books?id=6B0YAAAAYAAJ}}</ref> There have since been six or more partial translations into English.<ref>Tuvia Gelblum, [https://www.jstor.org/stable/616942 Review], ''Bulletin of the School of Oriental and African Studies'', University of London, Vol. 50, No. 1 (1987)</ref>

==See also==

* [[Arjunawiwaha]]

==References==
{{reflist|2}}

==Further reading==
* {{citation | year=2004 | title = Indian Kāvya literature, Part 1 | author1=A. K. Warder | publisher=Motilal Banarsidass Publ. | isbn=978-81-208-0445-6 | pages=198–233 | url=https://books.google.com/books?id=jTlLXw46g-cC&pg=PA198}}
* {{Citation| last = Roodbergen| first = J.A.F. | title = Mallinātha's Ghaṇṭāpatha on the Kirātārjunīya, I-VI| publisher = Brill Archive| year = 1984 | isbn =90-04-07018-4| url = https://books.google.com/books?id=AM0UAAAAIAAJ}}
* {{Citation | last = Peterson| first = Indira Viswanathan | title = Design and rhetoric in a Sanskrit court epic: the Kirātārjunīya of Bhāravi| publisher = State University of New York Press| year = 2003| isbn = 0-7914-5614-5}}
* {{citation | year=1983 | last=Har|first=Saktipada | title=Bhāravi and Kirātārjunīyam: A Critical Study | publisher=Sanskrit Pustak Bhandar | place=Calcutta}}
* [https://books.google.com/books?id=6B0YAAAAYAAJ&pg=PR22 A bibliography, as of 1912]
* {{citation | year=2016 | title = Arjuna and the Hunter | author1=Bharavi (Indira Viswanathan Peterson, ed. and trans.) | publisher=Harvard University Press | isbn= 978-06-745-0496-7 | pages=430 | url=}}

==External links==
* [https://archive.org/details/kirtrjunyabhrav00bhgoog Original text with Sanskrit commentary]: {{citation | year=1885 | title = The Kirâtârjunîya of Bhâravi: with the commentary (the Ghaṇtâpatha) of Mallinâtha | author1=Bhāravi | editor1=Nārāyaṇa Bālakṛishṇa Godabole | editor2=Kāśināth Pāṇḍurang Paraba | publisher=Nirṇaya-Sâgara press}}
* [http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/5_poetry/2_kavya/bhakirxu.htm Transliterated text] at [[GRETIL]]
* [http://www.sacred-texts.com/hin/m03/m03038.htm Kairata Parva], translation of the part of the Vana Parva that contains the story.
* [https://archive.org/stream/laysancientindi00goog#page/n142/mode/2up The Hunter and the Hero]: a very slightly abridged verse translation of the ''Kirātārjunīya'' into English by [[Romesh Chunder Dutt]], in his ''Lays of Ancient India''

{{DEFAULTSORT:Kiratarjuniya}}
[[Category:Sanskrit poetry]]
[[Category:Epic poems in Sanskrit]]
[[Category:6th-century books]]
[[Category:Ancient Indian poems]]
[[Category:6th-century Sanskrit literature]]
[[Category:Poems based on the Mahabharata]]
[[Category:Shiva in art]]
[[Category:Pallava dynasty]]

Kirātārjunīya - Revision history

Hakeem Nafeesurrahman Thanvi at 16:58, 21 October 2025