Editing Apsara (section)

==Literature==
[[File:13. Khajuraho Devi Jgadambi apsara.jpg|thumb|Apsara, [[Khajuraho Group of Monuments|Devi Jagadambi temple]] at [[Khajuraho]] in [[Madhya Pradesh]], India]]
The most ancient descriptions of apsara portray them as "[[Naiad|water nymph]]"-like beings.<ref name=":3">{{Cite web |last=Stefon |first=Matt |date=2009-10-20 |title=apsara |url=https://www.britannica.com/topic/apsara |access-date=2023-06-07 |publisher=[[Encyclopedia Britannica]] |language=en}}</ref>

The [[Rigveda]] tells of an apsara who is the wife of [[Gandharva]]; however, the Rigveda also seems to allow for the existence of more than one apsara.<ref name="EB1911" />
The only apsara specifically named is [[Urvashi]].  An entire hymn deals with the [[Colloquy (religious)|colloquy]] between Urvashi and her mortal lover [[Pururavas]].<ref>''Rig Veda'', Book X, Hymn 95.</ref> Later Hindu scriptures allow for the existence of numerous apsaras, who act as the handmaidens of [[Indra]] or as dancers at his celestial court<ref name="EB1911" /> serving as musicians alongside the gandharvas ("celestial musicians").<ref name=":3" />

The [[Kaushitaki Upanishad]] mentions apsaras as a class of divinities associated with ointments, garlands, vestments, and powdered aromatics.<ref>{{Cite journal |last=Cohen |first=Simona |date=2021 |title=The Indian Hair-Wringing Apsaras and her Discriminating Goose: Meanings and Migrations |url=https://journal.equinoxpub.com/ROSA/article/view/20975 |journal=Religions of South Asia |language=en |volume=15 |issue=2 |pages=156–157 |doi=10.1558/rosa.20975 |issn=1751-2697}}</ref>

The origin of the apsaras is described in the [[Ramayana]] and [[Puranas]]. Apsaras are further associated with water by relating them to the [[Samudra Manthana|churning of the ocean]], water sports, and groups such as ''nāgas''.<ref name=":4">{{Cite journal |last=Cohen |first=Simona |date=2021 |title=The Indian Hair-Wringing Apsaras and her Discriminating Goose: Meanings and Migrations |url=https://journal.equinoxpub.com/ROSA/article/view/20975 |journal=Religions of South Asia |language=en |volume=15 |issue=2 |pages=157 |doi=10.1558/rosa.20975 |issn=1751-2697}}</ref>

In many of the stories related in the [[Mahabharata]], apsaras appear in important supporting roles.  The epic contains several lists of the principal Apsaras, which lists are not always identical.  Here is one such list, together with a description of how the celestial dancers appeared to the residents and guests at the court of the gods:

<blockquote> Ghritachi, [[Menaka]], [[Rambha (apsara)|Rambha]], [[Tilottama]], Purvachitti, Swayamprabha, [[Urvashi]], Misrakeshi, Dandagauri, Varuthini, Gopali, Sahajanya, Kumbhayoni, Prajagara, Chitrasena, Chitralekha, Saha, and Madhuraswana—these and thousands more, possessed of eyes like lotus leaves, were employed in enticing the hearts of individuals practicing rigid austerities, and they danced there. And possessing slim waists and fair large hips, they began to perform various evolutions, shaking their deep bosoms, and casting their glances around, and exhibiting other attractive attitudes capable of stealing the hearts and resolutions and minds of the spectators.<ref>''Mahabharata'', Book III: ''Vana Parva'', Section 43.</ref></blockquote>

The Mahabharata documents the exploits of individual apsaras, such as [[Tilottama]], who rescued the world from the rampaging [[asura]] brothers [[Sunda (asura)|Sunda]] and [[Upasunda]]; and [[Urvashi]], who attempted to seduce the hero [[Arjuna]].

A recurring theme in the Mahabharata is that of an apsara sent to distract a sage from his ascetic practices. One story embodying this theme is that recounted by the epic heroine [[Shakuntala]] to explain her own parentage.<ref>''Mahabharata'', Book I: ''Adi Parva'', Section 71-72.</ref> Once upon a time, the sage [[Vishvamitra]] generated such intense energy by means of his asceticism that [[Indra]] himself became fearful. Deciding that the sage would have to be distracted from his penances, he sent the apsara [[Menaka]] to work her charms. Menaka trembled at the thought of angering such a powerful ascetic, but she obeyed the god's order.  As she approached Vishvamitra, the wind god [[Vayu]] tore away her garments. Seeing her thus disrobed, the sage abandoned himself to lust and they made love, during which Vishvamitra's asceticism was put on hold.  As a consequence, Menaka gave birth to a daughter, whom she abandoned on the banks of a river. That daughter was Shakuntala herself, the narrator of the story.

[[Shu Ting]] referenced apsara in her poem "O Motherland, Dear Motherland".<ref name=":2">{{Cite book |last=Meyer |first=Michael |title=The Bedford Introduction to Literature: Reading, Thinking, Writing |publisher=[[St. Martin's Press|St. Martin/Bedford]] |year=2008 |isbn=978-0-312-47200-9 |edition=8th |location=Boston |pages=1311}}</ref>