Kumārasambhava

Kumārasambhavam (Sanskrit: कुमारसम्भवम् ) (transl. - "The Birth of Kumāra") is an epic poem by Kālidāsa. It is widely regarded as the finest work of Kalidasa as well as the greatest kāvya poem in Classical Sanskrit. The style of description of spring set the standard for nature metaphors pervading many centuries of Indian literary tradition. Kumārasaṃbhavam basically talks about the birth of Kumāra (Kārtikeya), the son of Shiva (Śiva) and Pārvatī (Umā). The period of composition is uncertain, although Kalidasa is thought to have lived in the 5th century.

A fierce debate has raged over the question as to whether the whole of the seventeen cantos came was penned by Kalidasa. Vitthala Śastrin, who in 1866, published Cantos VIII to XVII in The Paņdit, took them as genuine work of Kalidasa while scholars like Hermann Jacobi took Cantos IX to XVII as a later interpolation. Stylistic inferiority of these cantos, rarity of manuscripts, silence on the part of early commentators and lack of citation in Alaṃkārasutra are often presented as reasons for rejecting this latter cantos of the poem.

Furthermore, there is a traditional orthodox view that rejects Canto VIII, arguing that it is blasphemous for a renowned Śaiva poet to depict the romantic pleasures shared by Shiva and Parvati, the divine parents of the universe. Legend say that Kalidasa could not complete his epic Kumārasambhavam because he was cursed by the goddess Parvati, for obscene descriptions of her conjugal life with Shiva in the eighth canto. But later it has inspired the famed sculpture of Khajuraho temples. The English renderings of these Sanskrit plays tend to avoid erotic and explicit aspects due to moral tastes of modern audience. The play depicts Kalidasa as a court poet of Chandragupta who faces a trial on the insistence of a priest and some other moralists of his time.

Despite these criticisms, many regard Canto VIII as the pinnacle of Kalidasa's poetic mastery, and it is cited more frequently in major critical works like the Alaṃkārasutra and the Sarasvatīkaṇṭhābharaṇa, than any other canto.