378:. The day Ayush breaks the code of non-violence by hunting a bird who carried a red gem, is also the day when Pururava's cherished Sangamaniya Gem is picked up by a bird who believed it to be a piece of red meat. Someone brings to the king the dead bird with the gem and the arrow that hit the bird. Chyavana Rishi sends back Ayush to Pururava's court. King reads the inscription on the arrow, which says that it belonged to "Ayush, the son of Ila's son (implying Pururava) and Urvashi". Urvashi tells the whole story of curse to Pururava who is very happy that his bane of being childless is removed, who appoints Ayush as the Prince and is very unhappy that Urvashi would now have to leave. At that point Narada brings the happy tidings and the play ends.
359:(2) Some of the original versions suggest that Urvashi returned to heaven the moment her conditions were breached, without consideration for Pururava's repeated requests and his anguish at parting. However, Kalidasa adds the wonderful element of Sangamaniya gem for reuniting Urvashi and Pururava with their son Ayush, and then adds visit by Narada carrying the message from Indra that since Pururava is a valued friend of his, and in future wars with demons his support is going to be pivotal, Urvashi could stay with him until end of his days. This addition of Indra's gesture at once depicts Urvashi's hesitation and pain to leave, desire to stay, being bound by the curse - all being eased by Indra's favor.
370:(4) Urvashi's dilemma: Kalidasa adds complexity confronting the character of Urvashi by introducing the condition that when Pururava sees the face of their son, Urvashi will return to the heaven. In Vikramorvashiyam, Urvashi conceives and delivers the son quickly without the knowledge of Pururava who never saw her pregnant (explanation is that she is a celestial being, and they have different patterns of carrying children). Son is placed under the care of Chyavan Rishi, who makes sure that since he is a Kshatriya, he would be taught
267:: Apparently aimed at emphasizing importance of a Yagya, Pururava was attracted to Ūrvaśī when she came to his city. She agreed with a condition, but when the king could not honor it because of manipulation by Gandharva people, she left him. Later, moved by the king's plight without her, she agreed to return once every year to him. The king still missed her a lot, so now convinced of his love, the Gandharvas asked him to perform a Yagya, due to which Pururava attained Gandharva-hood and could reunite with Urvashi (P. 1.2).
677:
smitten that she missed her cue and mispronounced her lover's name during the performance as
Pururava instead of Purushottama. As a punishment, Urvashi was banished from heaven, which was modified by Indra as until the moment her human lover laid eyes on the child that she would bear him. After a series of mishaps, including Urvashi's temporary transformation into a vine, the curse was eventually lifted, and the lovers were allowed to remain together on Earth as long as Pururava lived.
42:
261: : In the 95th section, called Sūkta of the tenth cluster (called Maṇḍala), there is a dialogue between Pururava and Ūrvaśī. Situation suggests that she has left the king after living for four years with him. The king beseeches her to return, but she refuses (saying, "na vai straiṇāni santi śālavṛkānām hṛdayānyetāḥ" - meaning, the hearts of women are like those of jackals). The story ends at that.
367:
extreme sixth stage of being in love, tried to find her and this is an opportunity
Kalidasa creates to add narration of Nature, and conversation of Pururava with various elements of Nature, flora and fauna. Description of Nature is Kalidasa's forte and the metaphors he uses to describe his beloved are wonderful.
672:
King tried to focus on his work, but he was unable to shake off the preoccupation with the thoughts of
Urvashi. He wondered if his was a case of unrequited love, and consults his friend, Manavaka. Meanwhile, Aushinari, the wife of Pururava, gets suspicious after a love-sick Pururavas addresses her as
366:
after their marriage, Pururava once stared at a young
Gandharva girl named Udayavati, who was playing by the river. Enraged by jealousy or displeasure, Urvashi stormed out of that place - and went straight into a forest which was prohibited for women. Thus she turned into a vine. Pururava, moved to
254:
makes it a rule that the plot of a
Sanskrit drama 'must be famous'. Accordingly, authors of Sanskrit plays use the stories from Purāṇas, Vedic texts and classic epics, namely Mahābhārata and Rāmāyaṇa for developing plays. However, the core objective of a drama is entertainment. Since everyone is
676:
Unfortunately, the leaf was carried off by the wind and stopped only at the feet of
Aushinari. She was enraged at first, but later declared that she would not come in the way of lovers. Before Urvashi and Pururava could talk, Urvashi was summoned again to heaven to perform in a play. She was so
314:
Whether they lived together happily ever after is questionable, because there is one more story in
Mahabharata in which Arjuna (a descendant of Pururava) goes to heaven and meets Urvashi there. Hence, by inference she and Pururava lived together during his lifetime, as he was a mortal.
673:"Urvashi". The queen's personal attendant Nipunika cleverly manages to get information about the source of Pururava's inanity and informs it to Aushinari. Urvashi, who had gone in invisible form to see the king, wrote a message on a birch leaf instantly, confirming her love.
255:
familiar with the basic plot, if the presentation of the play is not interesting or enchanting in some way, people would be bored. Hence there is emphasis on originality of the playwright. In the case of
Vikramorvaśīyam, here is how Kālidāsa has adapted the original subject:
356:'. This lack of mindfulness angered Bharata Muni, who cursed her to fall to earth. This curse, actually, was a boon for her. Indra, out of his appreciation for her, modified the curse by saying that she would return from earth when Pururava sees the face of their son.
664:
and many others, but the demon named Keshin abducted
Urvashi and Chitralekha and went in the North-East direction. The group of Apsaras started screaming for help, which was heard by the king Pururava, who rescued the two. Urvashi and Pururava fall in
944:
Patel, G. (2014). Vikramorvashiyamnu Mool ane Kavini
Maulikata. Chapter-25, Part-2: Vikramorvashiyam in 'Mahakavi Kalidasvirachitam Malavikagnimitram, Vikramorvashiyam', Vol. 3 of Mahakavi Kalidasa-Samagra Granthavali, p.
957:
Pandya, S. M. & Shah, U. (1993). The Sources of the Play and the Changes Brought about by Kalidasa. (Ed.s) Chapter-3, Mahakakavikalidasavirachitam Vikramorvashiyam, Saraswati Pustak Bhandar, Ahmedabad. p.
362:(3) Forest of Kartikeya where women were banned: Again, the original story mentions that the two were sent apart due to a curse, but Kalidasa adds the imagination that when the two went to Mount
337:(1) Urvashi was banished from the heaven, but how she got that punishment is Kalidasa's own imagination. According to Vikramorvashiyam, she was playing the part of Lakshmi in a play directed by
352:, she was asked who she had given her heart to. Urvashi, smitten by Pururava at that time, could not distinguish between her role and her self, and ended up saying 'Pururava' instead of '
310:(d) Urvashi returned to her form and got reunited with the king, but there came a time when she had to return to the heaven to serve Indra (e) The two had a son together, named Ayuṣa.
297:
are the sources of the story of Pururava and Urvashi. There are multiple versions of these stories in different sources, but one can see the following elements in this pool:
838:-language film directed by C. V. Raman based on the play. The story of a nymph marrying a noble-born human and leaving her celestial home has been used in 1957 Tamil film
863:
1393:
1388:
1373:
1263:
1398:
231:. However, there is no conclusive evidence for this, although both are said to have lived around the same time period. It simply means "Valour".
206:
and others, Kālidāsa has made significant adaptations to make the presentation more appealing while establishing his prowess as a playwright.
1129:
1100:
1073:
1033:
1006:
892:
660:
Once upon a time, Urvashi, who was an Apsara, was returning to heaven from the palace of Kubera on mount Kailasa. She was with Chitralekha,
979:
996:
334:
Adaptations by Kalidasa add novelty and surprise in the original subject, and infuse fresh depth and perspective. Here is how:
220:
1383:
885:
The Wonder that was India: A Survey of the History and Culture of the Indian Sub-continent Before the Coming of the Muslims
1378:
1256:
636:
307:(c) At least on one occasion Urvashi had to part from the king under some sort of breach, for which she changed form;
1363:
840:
198:
As per the tradition, while the basic plot has taken elements from the sources such as the Samvāda Sūkta of the
751:(4) conversation involving Chitralekha, Pururava, Vidushaka/jester and Urvashi and her rendezvous with the king
1023:
969:
1368:
1288:
1249:
214:
1334:
1049:
476:
853:
666:
363:
264:
162:
1230:
1222:
1193:
1185:
1156:
1135:
1320:
497:
1327:
1295:
1125:
1096:
1069:
1029:
1002:
975:
924:
888:
485:- The personal attendant of Aushinari, who informs the queen about Pururava's love for Urvashi
153:
1090:
1063:
1214:
1177:
821:
809:
830:
661:
615:
573:
489:
228:
107:
47:
41:
907:
858:
835:
176:
67:
1357:
1234:
1197:
434:
282:
274:
251:
469:- A vidushaka (jester) and Pururava's close friend, who aids in his romantic pursuit
580:
353:
338:
278:
1341:
816:, a 1920 Indian silent film adaptation; this was followed by Vishnupant Divekar's
227:
According to one theory, "Vikrama" in the title alludes to Kālidāsa's patron king
501:- Three apsara companions of Urvashi, who report about her abduction to Pururavas
17:
294:
286:
203:
415:- Sutradhara's assistant and he is probably in charge of the stage and the cast
1218:
1181:
594:
371:
349:
1168:
Gaur, R. C. (1974). "The Legend of Purūravas and Urvaśī: An Interpretation".
1139:
1120:
Leavy, Barbara Fass (1994). "Urvaśī and the Swan Maidens: The Runaway Wife".
374:
along with other systems of knowledge, but he will abide by the rules of the
1207:
Bulletin of the School of Oriental and African Studies, University of London
928:
610:
516:
429:
184:
51:
1273:
628:
457:- Son of Pururava and Urvashi, fostered in the hermitage of sage Chyavana
290:
199:
172:
139:
80:
1189:
1160:
1147:
Bakshi, Ram V. (1975). "Kalidasa's Plays: Rituals of Human Perfection".
301:(a) That Urvashi descended from heaven for some reason and met Pururava;
1052:
The Department of Public Instruction, Govt. Central Book Depot, Bombay.
446:
441:
346:
258:
192:
85:
55:
1226:
1062:
Saswati Sengupta; Shampa Roy; Sharmila Purkayastha (6 December 2019).
212:
is the second of the three plays written by Kālidāsa, the first being
602:
505:
493:
375:
270:
188:
126:
112:
1241:
971:
Love's Subtle Magic: An Indian Islamic Literary Tradition, 1379-1545
794:(3) Revelation by Urvashi of her conditional release from the curse
568:
342:
180:
1170:
Journal of the Royal Asiatic Society of Great Britain and Ireland
304:(b) The two lived together under some condition(s) for some time;
556:
453:
90:
1245:
449:, the celestial dancers of the heaven; the heroine of the play
1050:
The Vikramorvashiyam: A Drama in Five Acts by Kalidasa (Ed.)
519:, the heavenly musicians, and the messenger of the god Indra
1065:'Bad' Women of Bombay Films: Studies in Desire and Anxiety
791:(२) arrival of Ayush, about whom Pururava had no knowledge
744:(3) The ritual of taking a vow of pleasing the dear one -
624:- A gandharva girl to whom Pururava is temporary attracted
614:- The commander of the gods' army, and the protagonist of
953:
951:
669:. The nymphs were immediately summoned back to heaven.
1092:
Popular Cinema in Bengal: Genre, Stars, Public Cultures
409:- Director/producer and over-all manager of the theatre
563:
Characters with significant mentions in the play are:
531:- A disciple of Chyavana and the foster-mother of Ayus
437:, who rules Pratishthana Kingdom; the hero of the play
584:- The sage who curses Urvashi to descend on the Earth
1312:
1280:
135:
73:
63:
34:
768:(2) extreme anguish of Pururava at loss of Urvashi
250:The classical theory of Sanskrit drama, known as
179:, who lived in the 4th or 5th Century CE, on the
1205:Wright, J. C. (1967). "Purūravas and Urvaśī".
1028:. Penguin Random House India Private Limited.
590:- A danava (demon) monarch who abducts Urvashi
543:- Chief officer of royal chambers of Aushinari
509:- A divine-sage, who acts as emissary of Indra
1257:
864:List of Sanskrit plays in English translation
741:(2) waiting and conversation at Maṇi Mahālaya
738:(1) Enunch inviting Pururava to Maṇi Mahālaya
8:
820:in 1921. In 1954, Madhu Bose made an Indian
424:Major characters appearing in the play are:
293:Purana (9, 14) and the story of Gunadhya in
940:
938:
1264:
1250:
1242:
1089:Madhuja Mukherjee; Kaustav Bakshi (2020).
40:
31:
695:(1) Pururava volunteers to rescue Urvashi
402:Characters reciting the Benediction are:
974:. Oxford University Press. p. 403.
692:Starting with Introduction or Prastāvanā
640:- the divine guardians of the directions
875:
704:(4) Episode of single-stringed necklace
681:Major Acts and episodes within each Act
549:- A huntress dwelling in the mountains
463:- An apsara and Urvashi's close friend
7:
1095:. Taylor & Francis. p. 68.
785:Starting with Vidushaka announcement
762:Starting with Prelude or Praveshaka
735:Starting with Interlude/Viṣkambhaka
218:and the third being the celebrated
1025:Vikramorvasiyam: Quest for Urvashi
715:Starting with Prelude or Praveśaka
25:
1149:Journal of South Asian Literature
998:Complete Works of Kalidasa: Plays
883:Basham, Arthur Llewellyn (1981).
824:-language film adaptation titled
748:by Aushinari accompanied by maids
479:and the queen-consort of Pururava
1394:5th-century Sanskrit literature
1389:4th-century Sanskrit literature
1374:Indian plays adapted into films
1068:. Springer Nature. p. 96.
1399:Works based on the Mahabharata
771:(3) episode of Sangamaniya gem
58:, the protagonists of the play
1:
1124:. NYU Press. pp. 33–63.
1122:In Search of the Swan Maiden
341:, performed in the court of
175:play by ancient Indian poet
797:(4) entry of Naarada (नारद)
724:(3) Episode of Bhurja Patra
525:- disciples of Bharata Muni
1415:
923:. Town Press. p. 88.
618:, another work by Kalidasa
281:(Sṛṣṭi Khaṇḍa 12, 62-68),
1219:10.1017/S0041977X00132033
1182:10.1017/S0035869X00131983
921:Kalidasa in his own words
841:Manalane Mangayin Bhagyam
774:(4) return to the kingdom
598:- the teacher of the gods
537:- Charioteer of Pururavas
157:
39:
27:Sanskrit play by Kālidāsa
919:Panda, Pitambar (1960).
765:(1) episode of Udayavati
195:, known for her beauty.
191:(celestial nymph) named
1022:Kalidasa (2021-03-18).
995:Kālidāsa (2003-01-23).
788:(1) Bird taking the gem
576:and an ally of Pururava
319:Adaptations by Kalidasa
1048:Pandit, P. S. (1879).
746:Priyānuprasādana Vrata
445:- The foremost of the
1384:Ancient Indian dramas
968:Behl, Aditya (2012).
908:Text of Samvāda Sūkta
887:. Rupa. p. 437.
698:(2) Rescue of Urvashi
632:- the teacher of Ayus
171:') is a five-act
1379:Ancient Indian poems
721:(2) Entry of Urvashi
169:Ūrvaśī Won by Valour
46:An 1890 painting by
1001:. Sahitya Akademi.
854:Sanskrit literature
667:love at first sight
221:Abhijñānaśākuntalam
183:love story of King
805:In popular culture
718:(1) Forest Pramada
701:(3) Mount Hemakuta
572:- The king of the
523:Pallava and Galava
475:- The princess of
382:Cast of characters
345:. In the scene of
265:Śatapatha Brāhmaṇa
235:Origin of the plot
1364:Works by Kalidasa
1351:
1350:
1289:Mālavikāgnimitram
1131:978-0-8147-5268-5
1102:978-1-00-044892-4
1075:978-3-030-26788-9
1035:978-93-90914-05-0
1008:978-81-260-1484-2
894:978-0-8364-2888-9
834:is a 1940 Indian
215:Mālavikāgnimitram
166:
145:
144:
136:Original language
18:Vikramuurvashiiya
16:(Redirected from
1406:
1266:
1259:
1252:
1243:
1238:
1201:
1164:
1143:
1107:
1106:
1086:
1080:
1079:
1059:
1053:
1046:
1040:
1039:
1019:
1013:
1012:
992:
986:
985:
965:
959:
955:
946:
942:
933:
932:
916:
910:
905:
899:
898:
880:
810:Kanjibhai Rathod
800:(5) Happy ending
657:
656:
652:
433:- A king of the
394:
393:
389:
331:
330:
326:
247:
246:
242:
161:
159:
44:
32:
21:
1414:
1413:
1409:
1408:
1407:
1405:
1404:
1403:
1354:
1353:
1352:
1347:
1308:
1303:Vikramōrvaśīyam
1276:
1270:
1204:
1167:
1146:
1132:
1119:
1116:
1114:Further reading
1111:
1110:
1103:
1088:
1087:
1083:
1076:
1061:
1060:
1056:
1047:
1043:
1036:
1021:
1020:
1016:
1009:
994:
993:
989:
982:
967:
966:
962:
956:
949:
943:
936:
918:
917:
913:
906:
902:
895:
882:
881:
877:
872:
850:
831:Vikrama Urvashi
807:
683:
658:
654:
650:
648:
647:
606:- God of riches
557:Graeco-Bactrian
422:
400:
395:
391:
387:
385:
384:
332:
328:
324:
322:
321:
248:
244:
240:
238:
237:
210:Vikramorvaśīyam
158:विक्रमोर्वशीयम्
149:Vikramōrvaśīyam
131:
59:
48:Raja Ravi Varma
35:Vikramōrvaśīyam
28:
23:
22:
15:
12:
11:
5:
1412:
1410:
1402:
1401:
1396:
1391:
1386:
1381:
1376:
1371:
1369:Sanskrit plays
1366:
1356:
1355:
1349:
1348:
1346:
1345:
1338:
1331:
1328:Kumārasambhava
1324:
1316:
1314:
1310:
1309:
1307:
1306:
1299:
1292:
1284:
1282:
1278:
1277:
1271:
1269:
1268:
1261:
1254:
1246:
1240:
1239:
1213:(3): 526–547.
1202:
1176:(2): 142–152.
1165:
1155:(2/4): 45–49.
1144:
1130:
1115:
1112:
1109:
1108:
1101:
1081:
1074:
1054:
1041:
1034:
1014:
1007:
987:
980:
960:
947:
934:
911:
900:
893:
874:
873:
871:
868:
867:
866:
861:
859:Sanskrit drama
856:
849:
846:
826:Vikram Urvashi
814:Vikram Urvashi
806:
803:
802:
801:
798:
795:
792:
789:
786:
776:
775:
772:
769:
766:
763:
753:
752:
749:
742:
739:
736:
726:
725:
722:
719:
716:
706:
705:
702:
699:
696:
693:
682:
679:
646:
643:
642:
641:
633:
625:
619:
616:Kumarsambhavam
607:
599:
591:
585:
577:
561:
560:
550:
544:
538:
532:
526:
520:
510:
502:
486:
480:
470:
464:
458:
450:
438:
421:
418:
417:
416:
410:
399:
396:
383:
380:
320:
317:
312:
311:
308:
305:
302:
277:(4.6, 34-39),
236:
233:
143:
142:
137:
133:
132:
130:
129:
124:
121:
118:
115:
110:
105:
102:
99:
96:
93:
88:
83:
77:
75:
71:
70:
65:
61:
60:
45:
37:
36:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1411:
1400:
1397:
1395:
1392:
1390:
1387:
1385:
1382:
1380:
1377:
1375:
1372:
1370:
1367:
1365:
1362:
1361:
1359:
1344:
1343:
1339:
1337:
1336:
1332:
1330:
1329:
1325:
1323:
1322:
1318:
1317:
1315:
1311:
1305:
1304:
1300:
1298:
1297:
1293:
1291:
1290:
1286:
1285:
1283:
1279:
1275:
1267:
1262:
1260:
1255:
1253:
1248:
1247:
1244:
1236:
1232:
1228:
1224:
1220:
1216:
1212:
1208:
1203:
1199:
1195:
1191:
1187:
1183:
1179:
1175:
1171:
1166:
1162:
1158:
1154:
1150:
1145:
1141:
1140:j.ctt9qg995.5
1137:
1133:
1127:
1123:
1118:
1117:
1113:
1104:
1098:
1094:
1093:
1085:
1082:
1077:
1071:
1067:
1066:
1058:
1055:
1051:
1045:
1042:
1037:
1031:
1027:
1026:
1018:
1015:
1010:
1004:
1000:
999:
991:
988:
983:
981:9780195146707
977:
973:
972:
964:
961:
954:
952:
948:
941:
939:
935:
930:
926:
922:
915:
912:
909:
904:
901:
896:
890:
886:
879:
876:
869:
865:
862:
860:
857:
855:
852:
851:
847:
845:
843:
842:
837:
833:
832:
827:
823:
819:
815:
811:
804:
799:
796:
793:
790:
787:
784:
783:
782:
780:
773:
770:
767:
764:
761:
760:
759:
757:
750:
747:
743:
740:
737:
734:
733:
732:
730:
723:
720:
717:
714:
713:
712:
710:
703:
700:
697:
694:
691:
690:
689:
687:
680:
678:
674:
670:
668:
663:
653:
644:
639:
638:
634:
631:
630:
626:
623:
620:
617:
613:
612:
608:
605:
604:
600:
597:
596:
592:
589:
586:
583:
582:
578:
575:
571:
570:
566:
565:
564:
558:
554:
551:
548:
545:
542:
539:
536:
533:
530:
527:
524:
521:
518:
514:
511:
508:
507:
503:
500:
499:
495:
491:
487:
484:
481:
478:
474:
471:
468:
465:
462:
459:
456:
455:
451:
448:
444:
443:
439:
436:
435:lunar dynasty
432:
431:
427:
426:
425:
419:
414:
411:
408:
405:
404:
403:
397:
390:
381:
379:
377:
373:
368:
365:
360:
357:
355:
351:
348:
344:
340:
335:
327:
318:
316:
309:
306:
303:
300:
299:
298:
296:
292:
288:
285:(24, 10-32),
284:
283:Matsya Purana
280:
276:
275:Vishnu Purana
272:
268:
266:
262:
260:
256:
253:
243:
234:
232:
230:
225:
223:
222:
217:
216:
211:
207:
205:
201:
196:
194:
190:
186:
182:
178:
174:
170:
164:
155:
151:
150:
141:
138:
134:
128:
125:
122:
119:
116:
114:
111:
109:
106:
103:
100:
97:
94:
92:
89:
87:
84:
82:
79:
78:
76:
72:
69:
66:
62:
57:
53:
49:
43:
38:
33:
30:
19:
1340:
1333:
1326:
1319:
1302:
1301:
1294:
1287:
1210:
1206:
1173:
1169:
1152:
1148:
1121:
1091:
1084:
1064:
1057:
1044:
1024:
1017:
997:
990:
970:
963:
920:
914:
903:
884:
878:
839:
829:
825:
817:
813:
808:
778:
777:
755:
754:
745:
728:
727:
708:
707:
685:
684:
675:
671:
659:
635:
627:
621:
609:
601:
593:
587:
581:Bharata Muni
579:
567:
562:
552:
546:
540:
534:
528:
522:
512:
504:
488:
482:
472:
466:
460:
452:
440:
428:
423:
412:
406:
401:
369:
364:Gandhamādana
361:
358:
354:Purushottama
339:Bharata Muni
336:
333:
313:
279:Padma Purana
269:
263:
257:
249:
229:Vikramāditya
226:
219:
213:
209:
208:
197:
168:
148:
147:
146:
29:
515:- Chief of
513:Chitraratha
461:Chitralekha
295:Brihatkatha
287:Mahabharata
252:Natyaśāstra
204:Mahābhārata
120:Chitraratha
98:Chitralekha
1358:Categories
1335:Ṛtusaṃhāra
1321:Raghuvaṃśa
1296:Shakuntala
595:Brihaspati
559:bow-bearer
517:gandharvas
407:Sutradhara
372:Dhanurveda
350:Svayamvara
273:: In all,
74:Characters
64:Written by
50:depicting
1342:Meghadūta
1272:Works by
1235:162788253
1198:162234818
812:directed
622:Udayavati
611:Kartikeya
529:Satyavati
498:Sahajanya
473:Aushinari
291:Bhāgavata
185:Pururavas
123:Satyavati
117:Sahajanya
101:Aushinari
52:Pururavas
1274:Kālidāsa
1190:25203565
1161:40871930
945:238-240.
929:17404460
848:See also
637:Dikpalas
629:Chyavana
483:Nipunika
467:Manavaka
430:Pururava
398:Prologue
200:Rig Veda
177:Kālidāsa
173:Sanskrit
154:Sanskrit
140:Sanskrit
104:Nipunika
95:Manavaka
81:Pururava
68:Kālidāsa
822:Bengali
818:Urvashi
541:Latavya
447:apsaras
442:Urvashi
413:Marisha
347:Lakshmi
259:Ṛg-veda
187:and an
165:
86:Urvashi
56:Urvashi
1313:Poetry
1233:
1227:612386
1225:
1196:
1188:
1159:
1138:
1128:
1099:
1072:
1032:
1005:
978:
958:25-29.
927:
891:
662:Rambha
649:": -->
603:Kubera
553:Yavani
547:Kirati
506:Narada
494:Menaka
490:Rambha
386:": -->
376:Ashram
323:": -->
271:Purana
239:": -->
193:Ūrvaśī
189:Apsarā
127:Narada
113:Menaka
108:Rambha
1281:Drama
1231:S2CID
1223:JSTOR
1194:S2CID
1186:JSTOR
1157:JSTOR
1136:JSTOR
870:Notes
836:Tamil
779:Act-5
756:Act-4
729:Act-3
709:Act-2
686:Act-1
588:Keshi
569:Indra
477:Kashi
343:Indra
181:Vedic
167:'
1126:ISBN
1097:ISBN
1070:ISBN
1030:ISBN
1003:ISBN
976:ISBN
925:OCLC
889:ISBN
651:edit
645:Plot
574:gods
555:- A
535:Suta
496:and
454:Ayus
420:Play
388:edit
325:edit
241:edit
163:lit.
91:Ayus
54:and
1215:doi
1178:doi
1174:106
1360::
1229:.
1221:.
1211:30
1209:.
1192:.
1184:.
1172:.
1153:10
1151:.
1134:.
950:^
937:^
844:.
828:.
781::
758::
731::
711::
688::
492:,
289:,
224:.
202:,
160:,
156::
1265:e
1258:t
1251:v
1237:.
1217::
1200:.
1180::
1163:.
1142:.
1105:.
1078:.
1038:.
1011:.
984:.
931:.
897:.
655:]
392:]
329:]
245:]
152:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
