Urvaśī is one of the Apsarā(s) or celestial beauties. But she is not just ̍one of them̍. She has a special position among the other Apsarā(s) such as Menakā, Rambhā, Ghṛtācī, Viśvācī and so on. She has always been recognised as the greatest of all. In all the legends related to Urvaśī, her behaviour and gestures always reveal this distinguished nature.

The mention of Apsarā(s) can be found in Ṛgveda since the Vedic times. The earliest reference to Urvaśī is also found in the Ṛgveda. But the story of Urvaśī̍s birth has been described in Purāṇa(s). In Purāṇa(s), generally Apsarā(s) are referred to as the daughters of Muni, Prādhā or Ariṣṭā. But Urvaśīcannot be mixed with them. The story of her birth is also different from that of others.

In ancient times, there were to sages called Nara and Nārāyaṇa born as partial incarnation of God Śrī Hari. They were busy in very hard ascetic practices, so the gods were frightened. IN feared that his divine throne might be lost. He considered breaking the tapasyā of these two sages, and so he called to action the Apsarā(s)–

vārānganā gaṇo̍yaṃ sahāyārthā mayeritaḥ.

Indra gleefully praised them and said, these ladies alone can finish important tasks for me–

ekā Tilottamā Rambhā  kāryaṃ sādhayitum kṣamā.

It should be noted that these Apsarā(s) are used for breaking the tapasyā of sages and hermits. But Urvaśī is much more dignified,she has not been ̍used̍ repeatedly for this purpose like Menakā, Ghṛtācī, Rambhā.

Rambhā, Tilottamā and others, as per Indra̍s instruction, went to the mountain Gandhamādana, in the hermitage of Nara-Nārāyaṇa. On the arrival of  the Apsarā(s), untimely spring set in the tapovana, cuckoos started singing on the branches of Bakula tree–

vabhuraḥ kokilālāpā vṛkṣāgreṣu manoharāḥ.

Rambhā and Tilottamā began to dance in front of the twin sages, along with musical harmony. The sages̍ concentration was broken, and they, being surprised, said to each other, “What happened? Is it so that the course of time has really changed?–

kāladharmaviparyāsaḥ kathamadya durāsadaḥ.

Discussing such matters, the twin sages attention was drawn to the dancing Apsarā(s). They have come to exercise their charms, but seeing the sages, they were a bit afraid, too. So, offering their obesiance to the sages, they again started their seductive dance.

The sages understood everything, they also realised that the Apsarā(s) have no responsibility of this. Without being stiired by their charmed dance, sage Nārāyaṇa said to them– “You have come as our guests. Sit down, we would like to treat you as guests.” But he felt a little angry with Indra, king of gods. He thought, Indra has sent these beautiful girls to break our ascetic penance. But is there any limit to beauty. I can create an Apsarā, more beautiful and qualified than these ones–

varākya kā imāḥ sarvāḥ sṛjāmyadya navāḥ kila.

While thinking of this, Nārāyaṇa patted on his thigh, and Urvaśī emerged out of his thigh. According to the conception of Nārāyaṇa, she was hundred times more beautiful than the other Apsarā(s). Sinci she was born of the ̍uru̍ region of Nārāyaṇa, so she came to be known as Urvaśī–

nārāyaṇoru sambhūtā hyurvaśīti tataḥ śubhā.

According to this story of birth, Urvaśī can be called the daughter of Nārāyaṇa. They bowed their heads in front of sage Nārāyaṇa. Nārāyaṇa said, “I have no grudge against you. I am sending this Urvaśī, born out of my uru, as a gift for the satisfaction of Indra. Take this beautiful girl along with you
upāyanmiyaṃ vālā gacchatvadya manoharā.”

So, at the very beginning, it is known that Urvaśī is different from the other Apsarā(s)– unique and peerless. Rambhā, Tilottamā and others took her to heaven, and with great honour, presented before Indra. Indra was surprised to see the ascetic power of the twin sages, a power that could create a woman like Urvaśī–
yenorvaśyaḥ svatapasā tādṛgrūpāḥ prakalpitāḥ.

In this śloka, the term ̍urvaśī̍ has been used in plural. Actually sage Nārāyaṇ, investing his ascetic energy, created the most beautiful, uncomparable Urvaśī–
tarasotpādayāmāsa nāriṃ sarvāngasundarīm.

To attend upon the Apsarā(s) who came to distract them, the sage also created a number of similar Apsarā(s).

Removing this legend-part from this narrative, it appears that Urvaśī is the result of the tapasyā of the entire humankind. The human conceptualisation of Nara and Nārāyaṇa becomes more important than some divine miraculous matters. Her beauty is not only an illusion of the celestial abode, she is the product of ascetic yearning. That is why, in Vedic texts and elsewhere, Urvaśī has been placed in a position of the greatest among Apsarā(s). Here, the Purāṇ-composer confirms that uniqueness of Urvaśī, with greater emphasis.

Beginning from Ṛgveda, in Mahākāvya and Purāṇa(s), even in Amarakoṣa, we have the mention of Urvaśī several times. IN one śloka of Mahābhārata, Bhīṣma has mentioned nine Apsarā(s) as worthy of respect– and the name of Urvaśī comes first.

According to Purāṇa, the naming of Urvaśī is justified as she is born of the uru of Nārāyaṇa. However, Mahīdhara, the commentator of Śuklayajurveda has given a different explanation for Urvaśī–
uruḥ pṛthuḥ kāmo vaśo yasyā so̍rvaśī.
Uru means ̍heavy̍ or ̍raw̍. Urvaśī is one who can keep in control raw desire. Yāska, the author of Nirukta has also explained the term Urvaśī from a similar notion–
ururvā vaśo̍syāḥ.

The scholar Haricaraṇa Bandyopādhyaya has said– one meaning of ̍uru̍ is ̍heavy̍ or ̍raw̍, another meaning is ̍great̍, or some great person. According to him, one who can keep even great souls under one̍s power, is Urvaśī.

But since the time of Ṛgveda, besides being the greatest among the Apsarā(s), Urvaśī has another identity– as the beloved wife of Pururavā, son of Īla, the ancient king of Candravaṃś (the Lunar dynasty), as the ancient mother-figure of Puru̍s clan. However much the Apsarā(s) are identified as celestial courtesans, and their chief duty is to seduce people using their feminine grace and charms, this life of pleasure and luxury is also mechanical to some extent. Apsarā(s) did not wish to keep themselves confined to such mechanical roles.

In Mahākāvya-Purāṇa(s), we have found several Apsarā(s), who have given birth to many distinguished people. Although they could not express their motherly affection, like any other mother, but they did not refuse to give birth, so it appears that they also had the desire to enter into the sphere of motherhood. As a result, we find such distinguished Brāhmaṇa(s) as Vaśiṣṭha, Agastya, Droṇa, Kṛpa and others, who born of Apsarā mothers. Śakuntalā, mother of Bharata was also a daughter of Apsarā. So Urvaśī, the greatest among Apsarā(s) has also been established as the founder-mother of Candravaṃśa. But before motherhood, she is a beloved; casting aside the game of seduction in the heavenly abode, she has come down to earth, in response to the love of king Pururavā.

There is also a small legend at the beginning of the love-story of Urvaśī and Pururavā. This is found in such ancient texts like Vṛhaddevatā as well as in Purāṇa. Once upon a time, Āditya yajña was being performed in the heavenly abode. Mitra and Varuṇa, the twin gods were present there. Urvaśī was also present as an invitee. The situation was simple, Urvaśī was not trying to seduce the gods, but each and every movement of hers was so graceful and charming, that both Mitra and Varuṇa got attracted towards her. Mitra asked her to come with him, and Urvaśī agreed. But when Urvaśī was following Mitra, Varuṇa also came behind and dragged at the hem of her garments. Urvaśī said, “Mitra has called me first, so today I can̍t go with you.” Varuṇa said, “Well, you may go with him, but let your mind be with me.” Urvaśī agreed, but Mitra, getting infuriated at this, cursed her– “Since you have behaved like a prostitute, you should go to the earth and serve Pururavā.”

 By the curse of Mitra and Varuṇa, it was decided that the celestial beauty Urvaśī would be the beloved of Pururavā, a king on earth. But Urvaśī did not yet know Pururavā.  Her days were passed in happy idleness, by spending pastimes in her heavenly abode, and sometimes, performing at the court of Indra. One day, Urvaśī, along with other Apsarā(s), went to Alakāpurī, in the land of Kuvera. After performing there, they were coming back.  But on the way, a disaster took place. A demon called Keśī lived in Hiraṇyapura. Indra was repeatedly disturbed by his attacks. Pouncing on the celestial beauties was also part of the demon̍s atrocious behaviour. Keśī was trying to find an opportunity to abduct Urvaśī. Keśī knew that Urvaśī would be returning from the court of Kuvera. So, just in time, he attacked the small group of Apsarā(s). He did not capture everybody. He only abducted Urvaśī and her dear friend Citralekhā, and fled in his air-driven chariot, at high speed.  Added: Rambhā, Menakā, Sahajanyā– those who were associates of Urvaśī, cried out for help. Hearing their cries, the one who came to help, was Pururavā of Candravaṃśa. After he rescued Urvaśī from Keśī, she looked at the king, and got attracted towards him. However, Pururavā courteously escorted Urvaśī to the abode of Indra, and came back to his own kingdom. But at that time, he did not know, that he has been placed in the heart of Urvaśī.  Added: Since Urvaśī was rescued from the hand of Keśī, the abode of Indra was in high spirit of rejoicing. At the request of Indra, Bharatamuni himself came to the Indra, and took the assignment of performing the play Lakṣmī-Svayamvara at the court of Indra. The role of Lakṣmī was assigned to Urvasī. But Urvaśī̍s concentration was not centred upon the performance. Her mind was with Pururavā, but she had to perform, as per the direction of Bharatamuni.

The play commenced at the court of Indra, on the scheduled day, in due time. The great poet Kālidāsa has described the mental condition of Urvaśī, on that day, in details. The description of Purāṇa, however, is very brief.

In the role of Lakṣmī, Urvaśī started saying her dialogues. The experienced Menakā was playing the role of her friend, Vāruṇī. The scene was, as if, Lakṣmī has just come out of the churned ocean. among all the gods, demons, and Brahma-Viṣṇu-Maheśvara– assembled there, whom will she accept as her husband– this was the question of Vāruṇi– sakhi samāgata etetrailokya-supuruṣāḥ lokapālāḥ. katamesmiṃste bhāvāviniveśaḥ. Exactly at this point, Lakṣmī should answer, “I am dedicated only to Puruṣottama.” But the term ̍Puruṣottama̍ was not uttered by Lakṣmī, Urvaśī̍s own spirit taked in her place, and she said, “I love Puriravā”
— tastayā puruṣottama iti bhaṇitavye
pururavasi iti nirgatā vāṇī.

Sage Bharata was very much annoyed at this erroneous utterance of dialogue. And he again cursed Urvaśī– “You have no place in the celestial abode. Once Mitrāvaruṇa cursed, this time Bharatamuni also cursed. Urvaśī was not at all sad at this prospect. She came to earth, to king Pururavā.

However, Bhāgavatapurāṇa has noticed another reason behind Urvaśī̍s mistake in delivering dialogues. That reason was the sage-god Nārada– who roams freely about, whether on earth, or in heaven. He came to the divine place that day, and he was singing praises of Pururavā. Hearing the name of Pururavā repeatedly, Urvaśī got distracted. However, Urvaśī came to Pururavā, and he was charmed to see her. He requested her to live in his palace and become his beloved queen.

Hearing this, Urvaśī said with coyness, “There is no problem in our union, o king! But I have some conditions.”

Pururavā was so much charmed by Urvaśī, that he he was ready to satisfy any condition. Urvaśī started pronouncing her conditions. She said, “O king! I have two lambs, I have brought them up, as if they are my own children. Those lambs will be tied to my bed. You will never remove them from my side– śayana-samīpe mamoraṇakadvayaṃ putrobhūtaṃ nānapeyam.

This is my first condition. Second, I won̍t see you naked at any time. Third, I̍ll only live on ghee– ghṛtāmātrañca mamāhāra iti.” King Pururavā accepted all the conditions, saying ̍it would be so”– evamastu.

This conditions given here are more or less the same in all Purāṇa(s). But the most ancient text where these conditions appear is Śatapatha Brāhmaṇ, which was composed close in the heels of Ṛgveda. The legend , as depicted here, give an impression, as if, Urvaśī had already met Pururavā, then she left the king, and now they have met for a second time. Pururavā, like a passinate lover, request not to leave him. And Urvaśī dissuades the king using her own logic, asking him to go back. This is in Ṛgveda.

According to the scholars, there are two phases in the legend of Pururavā and Urvaśī. The most ancient layer of this legend, which we find in Ṛgveda, and this is tragic at the end. D. D. Kosambi, citing the opinion of several German scholars, has said, — “Hermann Oldenberg̍s discussion postulates a lost prose shell for the Vedic hymn without attempting to explain its many intrinsic difficulties. The original suggestion was made by Windisch, on the model of Irish myth and legend. The argument is that the Satapatha Brahmana version is much more comprehensible than the bare Rgveda dialogue, hence some such explanatory padding must originally have existed.”

Exactly for this reason, we need to mention the Urvaśī-Pururavā legend of Śatapatha Brāhmaṇa, because it has similarities with the legend in Mahābhārata. Though a scholar like Geldner has not given much importance to the legend of Śatapatha, but he has considered it as ̍history̍– the whole episode was just one more of such itihasa-puranas.

In Satapatha Brahmana, we have seen that, when Pururavā got married to Urvaśī, the condition of protecting the two lambs was not placed at first. Rather, here gets revealed a modern lady̍s intelligence and decency. She says– thrice in a day, you can come to me for conjugal pleasure. But you should never come to my bed against my desire. This is the rule of mixing with ladies like us–
akāmā sma mā nipadyāsai mo sma tvā
nagnaṃ darśameṣa vai na strīṇamupacāra iti.

So, in the description of Śatapatha, there is not the mention of the lambs at first, though it has come later. But since in Ṛgveda it had been mentioned, the Paurāṇika(s) have drawn upon this, and brought in the matter of consuming ghee among the conditions of their married life.The next incidents, from the sources taken together, would be as follows:

Śatapatha says, Then Urvaśī spent such a long time with Pururavā that she became pregnant.
sā hāsmiñṃjyoguvāsa
api hāsmādgarbhiṇyāsa

The language of Śatapatha is almost like Veda, beyond the understanding of merely Sanskrit-knowing people in general. Having the most desirable lady of heaven as his wife, Pururavā̍s mind did not not feel satisfied at home. He travelled on a visited several beautiful places, accompanied by Urvaśī. Those were such places, where the beauty of nature gives an impression of heavenly touch, as if the gods̍ world has come down to earth. The king remained happy in his conjugal life with Urvaśī–
reme sura-vihāreṣu kāmaṃ caitrarathādiṣu.

In heaven, everything seemed dull without Urvaśī. Indra was feeling very depressed. Dancing and singing performances in the celestial court became stale without Urvaśī. The treatrical group of sage Bharata was also less brilliant, for there was no Urvaśī to play the lead female role. Indra called the Gandharva(s) and said, “This won̍t do any longer. Bring Urvaśī back, without her presence, this court of mine does not look decent–
urvaśī-rahitaṃ mahyamāsthānam nātiśobhate.

In Śatapatha Brāhmaṇa, there is no consultation between Indra and and the Gandharva(s). Here The Gandharva(s) themselves are taking the decision. And it has a valid reason, too. In Veda itself, Apsarā(s) are mostly referred to as wives of Gandharva(s)–
tābhyo gandharvapatnībhyo̍psarābhyokaraṃ namaḥ.

In Purāṇa and itihāsa, too, the names of Apsarā(s) are always uttered along with the Gandharva(s). In Bhāgavata, at the time of Kṛṣṇa̍s Rāsanṛtya, Apsarā and Gandharva(s) are found to be dancing together–
jagurgandharvapatayo nanṛścāpasarogaṇaḥ.

Still, the Paurṇika(s) preferred to have Indra, king of gods, having a consultation with the Gandharva(s)– this has a special significance, too. Though in Veda, Apsarā(s) were basically referred to as wives of Gamndharva(s), there is also an indication that they are desirable to the gods as well. Sometimes they are also referred to as devapatnī(s)– devapatnīpsarāvadhītam– and at the same time, some kind of illicit relationship between the gods and Apsarā(s) is also evident–
apsarājāram upasiṣmiyānā.

However, Urvaśī has been in so much love with the earthly king that she has almost forgotten the happy memories of heaven–
pratidina-pravardhamānānurāgā amaraloka-vāse̍pi na spṛhāṃ cākara.

In the meantime the consultation was held in the abode of the Gandharva(s), or in the abode of Indra. Urvaśī must be brought back. Here, in Śatapatha, we have found the emergence of two lambs– Gandharva(s) have sthealthily come down to tie them to the two sides of Urvaśī̍s bed–
tasyai hāvidvayrūṇā śayana upavaddhāsa

According to the description of Purāṇa, however, the two lambs had already been there.

It was nocturnal time then. In darkness, the king was faithfully enjoying the embrace of Urvaśī. He was without clothes. At this time, Gandharva Viśvāvasu and his associates took away one lamb. Hearing the baby-lamb̍s bleating, Urvaśī woke up, and cried out– “Perhaps my heroic husband is no longer alive, or I have no friend around me, otherwise who could have abducted my lamb-child? In the language of Śatapatha Brāhmaṇa–
avīra iva vata me̍jana iva putraṃ harantīti.

By this time, the gandharva(s) had also taken away the second lamb. Again Urvaśī cried out– “I have no husband, no support”– sā ha tathaivovāca

King Pururavā sensed something wrong, when the first lamb was taken away. he could also hear Urvaśī̍s lamentations. He was hesitating, because even if he would light a lamp in order to search for the thief, Urvaśi would see him naked. But after the seconf lamb was taken away, Urvaśī̍s taunting words disturbed him. It was difficult for the brave king to bear with such insulting complaints. Actually, Urvaśī̍s words were not at all nice for the king. Avīra and ajana– these two words in Śatapatha mean– I have been married to such a person who is worthless, who is impotent, not at all heroic, but considers himself to be valiant–
hatāsmyahaṃ kunāthena napuṃsā vīramāninā.

Otherwise thieves are taking away my pet children, and he, being a man, is hiding inside in daytime, in fear, like a woman–
yaḥ śete niśi santrasto yathā nārī divā pumān.

This change in Urvaśī̍s behaviour disturbed the king. He was about to leave the room in that naked condition. Just at that moment, the Gandharva(s) created a glimpse of lightning. Urvaśī saw the king naked, and leaving behind all his love, left the palace of Pratiṣṭhānapura, for ever–
tatprabhayā corvaśī rājānāṃ apgatāmvaraṃ dṛṣṭvā apavttasamaya takṣaṇādeva apakrāntā.
The king promised eternal love to Urvaśī– Let our love be eternal– ratiṇau śaśvatīḥ samāḥ. Urvaśī broke away from that bond of love at that very moment.

In order to prove his worth to his wife, the king came out. The Gandhava(s) had realised that their work was done. They left the lambs there and disappeared. The king, finding them soon, thought that Urvaśī would be happy. he came back to the palace, along with the lambs, and found Urvaśī nowhere. Like a madman, the king again set out in search of his beloved wife.
Searching everywhere– in nandanavana, Alakā, Gandhamādana, Caitraratha– he could not find Urvaśī anymore. He realised that Urvaśī had left him. Still, he did not give up. One day, in Kurukṣetra, he found a lake full of lotuses. Urvaśī, surrounded by other Apsarā(s) were taking bath in that lake. She also noticed the lovelorn king. She told her Apsarā friends– This is that king of the earth. I have spent so many days with him–
ayaṃ vai sa manuṣye yasminnhamayātsam iti.

The lotus-lake where Pururavā found Urvaśī, was called ̍Anyataḥplakṣā̍. This information is given in Śatapatha Brāhmaṇa.

However, listening to Urvaśī̍s words, the other Apsarā(s) also looked at the king, and got attracted towards him. They said, almost enviously, “Oh, if we could also enjoy the company of this king.” Urvaśī, surrounded by Apsarā(s), came in front of the king. Pururavā was about to take her in his arms once again. But Urvaśī knew, the bond of earthly love was more powerful than that of the gods.

So Urvaśī did not stay longer. She started going away, slowly, keeping her husband at a safe distance. But her soft and graceful movements again aroused a passionate desire in the mind of Pururavā. Ṛgveda describes it as follows–

pururav said, don̍t go away so early, o Urvaśī. Is your heart so cruel? Whatever is in our mind, should be spoken now–
haye jāye manasā tiṣṭha ghore vacāṃsi miśrā kṛṇavāvahai nu.

Urvaśī created an aura of divine indifference around herself and said, “What is the point of talking to you?
–kimetā vācā kṛṇavā tavāhaṃ.
I have come back like the first dawn. Go back, Pururavā. You won̍t be able to keep me.

Just as the wind cannot be retrained, you will not be able to retain me–
durpanā vāta ivāhamasmi.
Pururavā fervently requested Urvaśī to stay back. He said, “since you are not with me, I can̍t cast my arrows. Since you left, I have not gone to any battle. I have not been interested in administrative works. My soldiers don̍t give a battle cry.” Pururavā did not stop there. He remembered old days, reiterating the memories of their amorous pastimes–
divānaktam slathitā vaitasena.

Urvaśi knew everything. She had come away,Pururavā had no fault in this. She accepted that the king had treated her with great care and honour, She said, “You used to embrace me three time a day. None of my co-wives have received so much care and attention from you. You have satisfied me above all others.

Pururavā had some other wives– Sujūrni, Śreṇi, Āpi, Granthinī, and others. But after Urvaśī̍s departure, they did not dare to alleviate the pain of the king. Urvaśī knew all this, too. She told the king, “You have received a son from me, for ruling the world. But you had not listened to me. I have repeatedly told you, under what conditions I would leave with you. Now what is the point of saying these things–
aśāsaṃ tvā viduṣī sasminnahanna ma
āśṛṇoḥ kimabhugvadāsi.

Reminding the king of the previous condition, with the consolation of the birth of a son, Urvaśī tried to comfort the king, and finally said, “Go back home. You will not get me back.

Hearing the words of Urvaśī, Pururavā wanted to die.He said– “Let you lover be away from your sight. Let him lie in the lap of death, let wolves feed on his body.–
adhā śāyita niyaterupasthe adhainaṃ vṛkā rabhasāso adyuḥ.

Urvaśī said, “Don̍t wish to die like this, Pururavā, don̍t waste yourself. Don̍t you know that the hearts of women are like the hearts of wolves– women̍s love never lasts forever–
na vai straiṇāni sakhyāni santi sālāvṛkāṇām hṛdayānyetā.

Pururavā still said– “Please come back Urvaśī.. My heart is breaking off in the pain of separation from you–
nivartasva hṛdayaṃ tapyate me.

In the imagination of Kaviguru Rabindranath, Urvaśī is ̍avandhanā̍, beyond the reach of any human binding. But the Urvaśī of Veda-Purāṇa had fallen in love with Pururavā. In Veda, Urvaśī̍s advice to Pururavā is– the gods are saying, you have already come close to death. Your son will surely offer āhuti to the gods, and in in this way you will attain the heavenly abode.

There are some differences between the description of Veda and that of Śatapatha. In Śatapatha, the description is more humane. Urvaśī says to Pururavā– Why are you behaving like an impractical person–
alaṃ anena avivekaceṣṭitena.

I am carrying your child. Come back to this place after one year. I̍ll give your son to your hand. And I̍ll be united with you for one night, once again.
avdānte bhavatā atra āgantavyaṃa.
kumāraste bhaviṣyate.
ekāñca niśāṃ tvayā saha vatsyāmi.

Śatapatha Brāhmaṇa, which comes immediately after Veda, does not have much difference from this prose-portion of Viṣṇupurāṇa. In Śatapatha, Urvaśī did not talk about the gods.She said– the Gandharva9s0 will grant you a boon. You should tell them that you also wish to become a Gandharva. The next morning, Pururavā asked for a boon to become a Gandharva–

yusmākamevaikā̍sānīti.

Gandharva(s) had an eternal connection with the Apsarā(s). Pururavā received araṇi-wood and agnisthālī from the Gandharva(s). Churning the two pieces of araṇi, he kindled fire, offered āhuti in yajña, and he became a Gandharva–
teneṣṭā, gandharvāṇāmeka āsa

However, it was not so simple that as soon as he received the divine agnisthālī, he could go with Urvaśī to live in the abode of Gandharva(s). He came back with the agnisthālī and araṇi-wood given by the Gandharva(s). The fire which emerged from these pieces of araṇi-wood, later manifested in three forms of Agni, hailed in Purāṇa– gārhapatya agni, āhavanīya agni and dakṣiṇāgni. Pururavā introduced that agni, so he is celebrated in veda as the friend of the Fire-god. And significantly, Urvaśī̍s name has also been associated with this emergence of Agni. After one year, according to her promise, Urvaśī came to Pururavā. She handed to him their eldest son, and lived with Pururavā for one night. It is assumed that, she used to come to Pururavā after one year, and again after that– because in Mahākāvya and Purāṇa, the number of their sons is six– Āyu, Dhīmāna, Amāvasu, Dhṛḍhāyu, Vanāyu and Śatāyu– accordig to Mahābhārata. The eldest son Āyu was the chief bearer of the legacy of Candravaṃśa.

The legend of Urvaśī and Pururavā was the most well-known among the legends related to Urvaśī. But her presence is found in many other legends.

In Mahābhārata, it is narrated that, in the birth-ceremony of Arjuna, which took place on the mountain Śataśṛṅga, Urvaśī rendered a singing performance. During the forest-exile of Pāṇḍava(s), when Arjuna went to the celestial abode in order to gain divine weapons, a dance performance was organised in the court of Indra, in his honour. Urvaśī performed there. Arjuna was fascinated to see her.

However, Indra misunderstood this attitude of Arjuna and thought that he had been attracted towards her. So he send a message to Urvaśī through Gandharva Citrasena that she should go to satisfy Arjuna. Citrasena also informed her about the looks and qualities of Arjuna. Urvaśī also got attracted towards Arjuna.

At night, Urvaśī, like a love-sick lady, went to Arjuna̍s place. It was almost night by then. The guard informed Arjuna about her arrival, and he was surprised. However, he himself came and greeted Urvaśī with great respect. He sumbly said to her– “O lady! you are the greatest among all Apsarā(s). I am your servant. Command me, what can I do for you?–
abhivādaye tvām śirasā pravarāpsarasāṃ vare
kimājñāpayase devi preṣyaste̍mupasthita.

The way Arjuna was greeting Urvaśī with so much respect, was rather embarrasing for her. Apsarā(s) were not habituated in receiving such reverential addresses. She said to Arjuna, “Gandharva Citrasena told me that in the programme of dance-performance in the court of Indra, you had been attracted towards me. Both the king of gods and Citrasena have understood that you have been charmed to see me, so they have sent me to you.

Hearing this, Arjuna put his fingers to his ears.

He said, it would have been better not to hear whatever i have heard just now. o mother, you are as respectable to me as mother Kuntī or mother Śacī is. Let me tell you why I was looking at you with such eagerness, during the dance performance. was thinking– this is that Urvaśī, who was the wife of our forefather Pururavā, our this is the archetypal mother-figure of our candravaṃśa. So I am like your son, or grandson, please don̍t say such things. Please go away.

The way Arjuna was repeatedly addressing her as ̍mother̍, grandmother and so on, was unbearable to Urvaśī. She had come with a desire for Arjuna̍s company. She was not only embarrased by Arjuna̍s reverential and formal attitude, but she became very angry. In anger, she cursed Arjuna– ̍May you become a eunuch̍–
tasmātvaṃ nartanaḥ pārtha strī madhye mānavarjitaḥ
apumāniti bikhyātaḥ ṣaṇḍavadvicariṣyasi.

Arjuna felt very sad to get cursed for no fault of his own. Indra consoled Arjuna, saying that — ̍The curse of Urvaśī will be beneficial to you. You will be able to live as a eunuch for one year. After the ajñātavāsa is complete, you will get rid of the curse.

In Sabhāparva of Mahābhārata, there is a description of the court of Kuvera. Urvaśī is also mentioned there., as one of the distinguished Apsarā(s). According to a legend narrated in Anuśāsana parva, when sage Aṣṭāvakra came to the court of Kuvera, a dance-performance was organised in his honour. Urvaśī also performed there.

In Vanaparva, sage Vibhāṇḍaka was taking bath in a lake, at that time, seeing Urvaśī, his heart got stirred, and he gave an erection. His vital energy fell in water. A female deer was drinking water in that lake. She drank the genital fluid that came out of the body of Vibhāṇḍaka. And sage Ṛṣyaśṛṅga was born of the womb of that deer.

In Kūrmapurāṇa, there is another legend related to Urvaśī and king Durjaya of the linegae of Tālajangha. One day king Durjaya found Urvaśī singing beautifully on the bank of the river Kālindī. Durjaya was charmed to see Urvaśī, and going near, expressed his love for Urvaśī. Urvaśī alo felt attracted towards the handsome king. The king and Urvaśī started spending time in the beautiful orchard. Many days passed by, and the king paid no heed to that. Finally, one day the king became aware of the matter that he should go back to his kingdom. He asked for Urvaśī̍s permission. Urvaśī said, I am not satisfied. Stay one more year with me. The king said, “I̍ll come back after some days.” Urvaśī said, “Well, then promise me that you will not enjoy yourself with any other Apsarā.” The king promised so, and came back to his capital. After some days, he again went back to that riverside woodland, and could not find Urvaśī. he set out in serach of Urvaśī, and travelled across many countries, finally he found her again on the bank of Mānasa sarovara. There also he spent a long time with her. but Urvaśī herself realised that this kind of behaviour of the king will be offensive to his loyal wife, his priests, and his subjects. So she requested him to go back. But the king did not wish to leave Urvaśī. Then Urvaśī assumed the form of a terrible-looking Piśācī, so that, the king would leave her. Seeing her terrible form, Durjaya got annoyed, and left her to come back to her kingdom.

In Brahmapurāṇa it is described that, once there was a powerful king called Pramati. Once he went to the heavenly abode of Indra, and found the king of gods, surrounded by Apsarā(s), playing dice. Indra invited Pramati to play dice. In this game, Urvaśī was used as a bait. Finally king Pramati won Urvaśī. He also took everything from Indra– his chariot called Jaitra, his vajra and so on.

The game did not stop there. The Devagandharva(s) baited their Gāndharvi knowledge and played with Indra, only to lose it. And then, Pramati, vey proud, told Urvaśī, “Go and work with my other maid-servants.” Urvaśī felt insulted and said, “I shall treat you, as i treat the gods, but you should not ask me to work like a mere maid servant.” Pramati teased Urvaśī, saying, “Why are you so shy? Look, there are so many beautiful maids in my household, and they are all engaged in domestic works Go and work with them.” Hearing such proud words of Pramato, Citrasena, brother of Gandharva Viśvāvasu was very much annoyed. He wanted to give a proper lesson to Pramati. So he invited Pramati to play dice. Pramati started losing to Citrasena step by step, and in this way Pramati lost everything he has won, including Urvaśī. Urvaśī became free of her bondage.

In Purāṇa it is described thatin the season of Hemanta, in the month of Agrahāyaṇa, Urvaśī stays in the chariot of the sun-god.

From the number of legends about Urvaśī, found in ancient texts ranging from the Vedanto the Purāṇa(s), it appears that we are reading about some ageless, immortal beauty who is ever-young. However, it can also be considered that the name of Urvaśī became an archetype. In future times, the most beautiful lady of her own time, excelling in singing and dancing, came to be known as Urvaśī.