[5] 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.
[5] 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.
The English renderings of these Sanskrit plays tend to avoid erotic and explicit aspects due to moral tastes of modern audience.
Then was it sweet, as days flew by, to trace The dawning charm of every infant grace, Even as the crescent Moons their glory pour More full, more lovely than the eve before.
Taraka, having gained mastery over the three worlds through a boon from Brahma, had forced all the gods into his service, rendering even the powerful Indra powerless.
[9] Then with strong effort, Siva lulled to rest, The storm of passion in his troubled breast, And seeks, with angry eyes that round him roll, Whence came the tempest o'er his tranquil soul.
He looked, and saw the bold young Archer stand, His bow bent ready in his skillful hand, Drawn towards the eye— his shoulder well depressed, And the left foot thrown forward as a rest.
Upon his arrival, the trees and plants suddenly bloom, the earth dons a premature springtime beauty, and both animals and birds exhibit signs of love, even affecting the ascetics' ability to maintain their self-control.
[9] The silver Moon on Siva's forehead shone, While softly spake the God in gracious tone: — "O gentle Maiden, wise and true of soul, Lo, now I bend beneath thy sweet control!
Parvati, who secretly loved Shiva and desired to marry him, felt deeply disappointed and decided to pursue austere penance to achieve her goal.
After obtaining her parents' permission, she ascended a Himalayan peak, later named Gaurishikhara after her, where she rigorously practiced self-mortification, undeterred by the harshest forms of asceticism.
He argued skillfully against her choice, highlighting Shiva's perceived flaws, such as his love for unpleasant things, his unattractive appearance, and his poverty, suggesting he was unsuitable for a refined woman like Parvati.
[9] I seek the Mountain-Maiden as my bride, Our hero Son shall tame the Demon's pride, — Thus the Priest bids the holy Fire arise, Struck from the wood to aid the Sacrifice.
Go, ask Himalaya for the lovely Maid, Blest are those bridals which the Holy aid; So shall more glorious honours gild my name, And win the father yet a prouder fame.
[9] Now have they left the wedded Pair alone, And Siva takes her hand within his own To lead his darling to the bridal bower, Decked with bright gold and all her sumptuous dower.
She blushes sweetly as her maidens there Look with arch smiles and glances on the Pair, And for one moment, while the damsels stay, From him she loves turns her dear face away.
He then rides his famous bull, Nandi, to Oshadhiprastha, accompanied by the Mothers, his Ganas, and other gods, and is welcomed at the city gates by Himalaya and the bride's party.
And if, when he was kissing her hair, Siva caught powder in the eye on his forehead, he touched it to the perfume of Parvati’s breath, fragrant as the odour of an opening lotus.
It seems that a later, less skilled author (or possibly two) continued the story in nine additional cantos, which describe the birth of Kumāra and his triumph over Tāraka as the gods' army leader.
[1] And once when he was loving on Mount Malaya, the south wind, smelling of sandalwood branches and filaments of lavan̄ga blossoms, like a lover with sweet words, took all tiredness away from his beloved.
Here, in the description of amorous pleasures of the three-eyed god, who is the Lord of the three worlds, in His union with Mother, has been stated the attraction of His eyes by the upper part of her thigh shining with the series of nail-marks impudently shown as befitting a low woman.
Aruņagirinātha addresses the objections regarding the indecency of depicting Shiva and Parvati’s lovemaking by condemning those who refused to comment on the eighth canto, calling their hesitation foolish:[10] The fault here belongs purely to him who thinks that these activities are real, when in fact they are merely the playing of these two Great Actors, acting out the actions of famous ordinary heroes and heroines of the exalted type.
Furthermore, based on the introductory notes in Mallinātha’s commentary, it seems that his remarks on this section of the poem were treated as a separate work, possibly intended only for older students.