महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

11] Synoptic Analysis of the Play

once perceives that it is a sacrificial horse, and the boys, from inquiry, learn (iv. 27) that it is let loose by Rāma, ‘the foremost hero of the seven worlds’. The youthful Lava, incensed at this supposed insult to his own heroism asks his companions to capture the horse (iv. 28¹ ᶠ.). Enters an enraged soldier to prevent the capture. Lava makes ready to fight (iv. 29). Exeunt all.

ACT V. PRINCES IN COMBAT

TRANSLATION, PAGES 73–81.

In the short interval—an hour or so—between this Act and the last, Lava has utterly routed the army. Scene 1 (v. 0¹—v. 36²). An open space near Vālmīki's hermitage. Enter Chandraketu in a chariot, and Sumantra his charioteer. Chandraketu has heard of the fight and is hastening to the rescue (v. 1). He cannot help admiring Lava's appearance and courage (v. 2, 3, 5) and feels abashed to find that Lava singly has defeated the whole army (v. 6³). Chandraketu now invites Lava for a personal combat (v. 7). Enters Lava, bow in hand, leaving the army, who, however, continue to harass him (v. 8⁴, v. 10⁴) the moment his back is turned upon them. Finding no other way to stop them, Lava makes use of the magic missiles ¹ (v. 12² ᶠ.). The hubbub in the army is now at an end (v. 13) and the two youths meet face to face (v. 15³). Chandraketu courteously offers Lava a chariot (v. 28²), which Lava as courteously, but not without a mixture of pride, declines (v. 28⁶). Lava adds that the fight was partly forced upon him (v. 29) by the insolent vaunting (iv. 27) of the attendants of the horse. Chandraketu wonders if Lava really believed himself superior to the great Rāma (v. 29¹, 34). Lava, who knew the Rāma story well, replies that no great man need be absolutely perfect, and mentions a few weak points (v. 35) in Rāma’s earlier career. This provokes Chandraketu and both repair to a place where they can fight undisturbed (v. 36¹).²

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at the end of Scene 2, and now come to the centre. ¹ Called jṛmbhaka or stupefying. Their use, so naturally brought in, plays an im- portant part in the final recognition in Acts vi and vii. ² According to the canons of Hindu drama- turgy, combats could not be represented on the stage.