Apsaras
An apsara, also spelled as apsaras (respective plurals apsaras and apsarases), is a type of female spirit of the clouds and waters in Hindu and Buddhist culture. They figure prominently in the sculpture, dance, literature and painting of many South Asian and Southeast Asian cultures.
There are two types of apsaras; laukika (worldly), of whom thirty-four are specified, and daivika (divine), of which there are ten Urvasi, Menaka, Rambha, Tilottama and Ghritachi are the most famous among them.
In Indian mythology, apsaras are beautiful, supernatural female beings. They are youthful and elegant, and superb in the art of dancing. They are often wives of the Gandharvas, the court musicians of Indra. They dance to the music made by the Gandharvas, usually in the palaces of the gods, entertain and sometimes seduce gods and men. As ethereal beings who inhabit the skies, and are often depicted taking flight, or at service of a god, they may be compared to angels.
Apsaras are said to be able to change their shape at will, and rule over the fortunes of gaming and gambling. Apsaras are sometimes compared to the muses of ancient Greece, with each of the 26 Apsaras at Indra's court representing a distinct aspect of the performing arts. They are associated with fertility rites. The Bhagavata Purana also states that the apsaras were born from Kashyapa and Muni.
The origin of 'apsara' is the Sanskrit अप्सरस्, apsaras (in the stem form, which is the dictionary form). The stem form ends in 's' as distinct from, e.g. the nominative singular Ramas/Ramaḥ (the deity Ram in Hindi), whose stem form is Rama. The nominative singular form is अप्सरास् apsarās, or अप्सरा: apsarāḥ when standing alone, which becomes अप्सरा apsarā in Hindi, from which in turn the English 'apsara' presumably is derived. Monier-Williams Dictionary gives the etymology as: अप् + √सृ, "going in the waters or between the waters of the clouds".
Rigveda
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. The only apsara specifically named is Urvashi. An entire hymn deals with the colloquy between Urvashi and her mortal lover Pururavas. Later Hindu scriptures allow for the existence of numerous apsaras, who act as the handmaidens of Indra or as dancers at his celestial court.
Mahabharata
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:
Ghritachi and Menaka and Rambha and Purvachitti and Swayamprabha and Urvashi and Misrakeshi and Dandagauri and Varuthini and Gopali and Sahajanya and Kumbhayoni and Prajagara and Chitrasena and Chitralekha and Saha and Madhuraswana, these and others by thousands, possessed of eyes like lotus leaves, who were employed in enticing the hearts of persons practising rigid austerities, 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.[5]
The Mahabharata documents the exploits of individual apsaras, such as Tilottama, who rescued the world from the rampaging Asura brothers Sunda and Upasunda, and Urvashi, who attempted to seduce the hero Arjuna.
A story type or theme appearing over and over again in the Mahabharata is that of an apsara sent to distract a sage or spiritual master from his ascetic practices. One story embodying this theme is that recounted by the epic heroine Shakuntala to explain her own parentage. Once upon a time, the sage Vishwamitra 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 Vishwamitra, the wind god Vayu tore away her garments. Seeing her thus disrobed, the sage abandoned himself to lust. Nymph and sage engaged in sex for some time, during which Vishwamitra'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.