and play a role in the puranas. Late tradition
says that apsaras either were born from BRAHMA’s
fancy or are the daughters of the RISHI DAKSHA
or of Kashyapa. The Vedic apsaras born from
the daughters of Daksha are Menaka, Sahajanya,
Parnini, Punjakasthala, Gritasthala, Ghritachi,
Vishvachi, Urvashi, Anulocha, Pramlocha, and
Manovati. Other well known apsaras of later times
are Tilottama, Rambha, and Mishrakeshi.
The most famous apsaras is perhaps Urvashi,
whom King Pururavas fell in love with and begged
to stay with him. She agreed upon several condi-
tions, one of which was that she never see him
undressed. As fate would have it, one night she
saw him without his clothes and was forced to
return to her celestial home. Pururavas was heart-
broken and searched everywhere for her. One day
he was able to reach her abode and persuaded her
to promise that she would meet him yearly and
have his son. After he had gone to see her several
times she told him how he might obtain her as his
bride permanently. Through a ritual sacrifice he
was able to become a celestial (GANDHARVA singer)
and gain her as his bride forever.
Tilottama is also well known, as the apsaras
who tempted Lord BRAHMA when he was doing
austerities. She appeared before him in turn on all
sides and caused him to form heads in all direc-
tions. Eventually he was humiliated, because he had
been doing austerities to gain the throne of INDRA.
Apsarases are often depicted in temple architecture.
Further reading: Projesh Banerjee, Apsaras in India Dance
(New Delhi: Cosmo, 1982); E. Washburn Hopkins, Epic
Mythology (Delhi: Motilal Banarsidass, 1986); Kanwar
Lal, Apsaras of Khajuraho (Delhi: Asia Press, 1966); W. J.
Wilkins, Hindu Mythology (Calcutta: Rupa, 1973); J. C.
Wright, “Pururavas and Urvasi,” Bulletin of the School of
Oriental and African Studies 30 (1967): 526–547.
Aranyaka
The Aranyakas or “forest books,” originally part of
the BRAHMANA sections within the VEDAS, contain
esoteric interpretations of the Vedic rituals. They
show the ritual actors performing aspects of the
ritual internally and esoterically while meditating
in the forest. In the development of Indian tradi-
tion, the Aranyakas are in one sense transitional
between the typical Brahmana philosophy, which
explains the Vedic acts in practical terms, and the
UPANISHADS, which delve into the higher philo-
sophical vision of the Vedas.
Only four Aranyakas have been preserved: the
Brhad Aranyaka in the SHATAPATHA BRAHMANA of
the White YAJUR VEDA, the Taittariya Aranyaka of
the Taittariya Brahmana of the Black Yajur Veda,
the Aitareya Aranyaka in the Aitareya Brahmana
of the RIG VEDA, and the Kaushitiki Aranyaka in
the Kaushitiki Brahmana, also in the Rig Veda.Further reading: Julius Eggeling, trans., The Satapatha
Brahmana, According to the Text of the Madhyamdina
School (Delhi: Motilal Banarsidass, 1972); Jan Gonda,
Vedic Literature: Samhitas and Brahmanas, Jan Gonda,
ed., in A History of Indian Literature, Vol. 1, fascicle 1
(Wiesbaden: Otto Harrassowitz, 1975); Arthur B. Keith,
Aitareya Aranyaka (Oxford: Clarendon Press, 1969).arati See PUJA.
Ardhamagadhi
Ardhamagadhi is one of the Prakrit languages
that immediately descended from ancient SAN-
SKRIT. The canonical works of the Jains (see JAIN-
ISM) were written in this language; the Jains only
later began to write in Sanskrit. Stray records of
Ardhamagadhi survive in the dialogue sections of
Sanskrit high literature, and some Ardhamagadhi
poetry is still extant.Further reading: Siegfried Lienhard, A History of Classical
Poetry: Sanskrit, Pali, Prakrit. Vol. 3, Fascicle 1, History of
Indian Literature, edited by Jan Gonda (Wiesbaden: Otto
Harrassowitz, 1984); Moriz Winternitz, History of Indian
Literature (Delhi: Motilal Banarsidass, 1967).K 42 Aranyaka