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

9] Synoptic Analysis of the Play Scene 4 (iii. 15²⁰—iii. 49¹). Another part of Pañchavaṭī: At a distance, the river Godāvarī, with elephants fighting in the waters. Characters same as before. The elephant-fight has resulted in a victory for Sītā's pet (iii. 15²¹); all rejoice in consequence (iii. 16 ff.). Vāsantī now avails herself of the occasion to point out a number of other objects (iii. 19, 22, 37⁵, 38, 44) connected with their earlier life in Pañchavaṭī, as if casually, but really with a view to reprobate Rāma's conduct towards his wife. Rāma in reply lays his whole heart open to Vāsantī (iii. 27⁶ ff., 29, 32, 33, 34, 36, 37, 39), who is much moved by his sorrows and his sufferings and the sublime grandeur of his soul. All this takes place, of course, within the hearing of Sītā, though neither Rāma nor Vāsantī was aware of her presence. The result is that Sītā, who in Scene 2 (iii. 7⁶) was full of just resentment against her husband, gradually finds herself softening towards him,¹ until finally she absolves him from all wrong whatsoever (iii. 46¹³ ᶠ.). As it was getting late, Rāma rises to go to Ayodhyā and take part in the holy horse-sacrifice (iii. 48¹).² Exeunt all. ACT IV. KAUSALYĀ AND JANAKA Translation, pages 60–72. This Act is practically synchronous with the last two, and is partly meant as a humorous relief after the intense emotional excitement of Act iii. Scene 1, Interlude (iv. 0¹—iv. 2²). Vālmīki's hermitage on the Ganges: An open space near by. Enter two pupils. One of them admires the beauty of the hermitage, which is now putting on its best appearance (iv. 1) to welcome some venerable guests. The other—evidently a youngster³—is delighted at the thought that the guests bring with them also a holiday for the schools (iv. 1¹). In the course of their conversation it transpires that the guests are no other than Arundhatī, Vasishṭha, and the Queen-mothers, who, on the conclusion of Ṛishyaśṛiṅga's twelve-year sacrifice (cp. i. 3), not caring to return to Ayodhyā where Sītā was not, have repaired to Vālmīki's hermitage. Among the day's guests there is also Janaka (iv. 1²³), Sītā's father, come on a friendly visit to Vālmīki (iv. 1³³). The boys go off to play. ¹ The psychological moments in this process are described at length in the note to iii. 7⁶. They show the poet's thorough understanding of human passions, and a deft handling of them. ² For the nature of this sacrifice compare Introduction, § 18, P. ³ Who cannot yet speak his Sanskrit properly. 2 [H.O.S. 21]

Bhavabhūti — Uttara-Rāma-Charita [10 Scene 2 (iv. 2³—iv. 26¹¹). A yard adjoining Vālmīki’s hermitage. Enters Janaka, seated sorrowing at the foot of a tree. His lamentations for his daughter (iv. 3-5) are interrupted by the appearance of Arundhatī and Kausalyā, who, led by a chamberlain and under instructions from Vasiṣṭha, are coming to meet Janaka. Janaka is not at first well- disposed towards Kausalyā, the mother of ‘that shepherd of the people’, meaning Rāma (iv. 10³); but he soon relents at the sight of the grief- stricken old widow of his late friend Daśaratha (iv. 13, 14). A noise of the boys making merry over their holiday-games is heard from behind the curtain (iv. 18¹). Among the boys all watch with interest one—evidently a Kṣatriya youth (iv. 20)—who resembled in his looks not only Rāma but Sītā also (iv. 19, 22). Arundhatī, who has had the secret (iv. 18⁷) from Bhāgīrathī (the Ganges), knows that he must be one of the twin sons of Rāma. They send the chamberlain (iv. 20³) after the boy, who comes and announces himself (iv. 21³) as Lava. They inquire after his parentage (iv. 22¹), but he naïvely answers (iv. 22⁵) that he belongs to Vālmīki (who of course never married). A voice behind the curtain conveys to the soldiers of the army Prince Chandraketu’s order (iv. 22⁹) to the effect that they must not molest the hermitage in any way. Janaka and Kausalyā rejoice at the prospect of meeting Chandraketu (iv. 22¹⁰ ᶠᶠ˙), and in reply to Lava’s inquiry they tell him that Chandraketu is no other than Lakshmaṇa’s son (iv. 22²⁰). Lava, who knew Vālmīki’s Rāmāyaṇa by heart, was instantly able to identify Chandraketu. Janaka now asks Lava (iv. 22²³) if from the Rāmāyaṇa he could tell them some of the Later History of Rāma. Lava replies that Vālmīki has composed that portion, but, wishing to give a dramatic representation of it, he has sent it, in charge of Lava’s brother Kuśa, to the sage Bharata.¹ The published portion of the Rāmāyaṇa, he adds, ends with the abandonment of Sītā (iv. 22⁴³). The memory of that event calls forth a passionate expression of grief from Janaka (iv. 23), and Lava now learns who all the elders were (iv. 23²). At this point a number of disorderly boys break in upon the stage and inform (iv. 26) Lava of a wonderful sight—a horse—that they have seen. They drag Lava off the stage (iv. 26²). The rest of the party also go away anxious to meet Vālmīki and learn from him, if possible, the secret of Lava’s parentage (iv. 26¹¹). Scene 3 (iv. 26¹²—iv. 29¹). Another open space near Vālmīki’s hermitage: the sacrificial horse in sight. Re-enter ² the boys with Lava. Lava at

¹ Author of the Nāṭyaśāstra, the earliest extant book on Hindu dramaturgy. This whole account sounds like a bit of auto-biography: cp. Introduction, § 4. ² Not strictly ‘re-enter’. The boys merely withdraw to a remote part of the stage

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

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.

Bhavabhūti — Uttara-Rāma-Charita [12 ACT VI. THE PRINCES RECOGNIZED TRANSLATION, PAGES 82–93. In respect of time, this Act is an immediate sequel to the last. Scene 1, Interlude (vi. 0¹—vi. 7³). Place: aerial regions above Vālmīki's hermitage. Enter an air-sprite (Vidyādhara) and his mate, viewing the combat between Lava and Chandraketu from an aerial car. They describe the fight: how one missile supersedes another only to be itself superseded by a third. Victory trembles in the balance. At last they see Rāma returning from Daṇḍakā in his Pushpaka car (vi. 6⁵) and stopping the battle. The air-sprites go away. Scene 2 (vi. 7⁴—vi. 42³). The fighting-ground at a considerable distance from Vālmīki's hermitage. Enter Rāma, Chandraketu, and Lava. Chandraketu tells Rāma of the fight and particularly of Lava's valour (vi. 8²). Rāma feels an unaccountable attraction towards Lava (vi. 9, 12). Lava, in his turn, is deeply impressed (vi. 10, 11) by the sight of the great man, who, Chandraketu tells him (vi. 12⁵), is no other than the hero of the Rāmāyaṇa. Rāma embraces Lava (vi. 13). Lava begs to be pardoned for his insolent conduct (vi. 13³) but Rāma praises him for it (vi. 14). Chandraketu then points out how by his jṛimbhaka missiles Lava has thrown the whole army into a stupor (vi. 14²). Rāma asks Lava to withdraw the missiles and sends Chandraketu away to comfort his army. Exit Chandraketu. Rāma inquires of Lava how he came to have this power over the missiles (vi. 15³). Lava explains that they two were born to the knowledge of them. ‘Who is the other?’ asks Rāma. The answer is partly given by a voice behind the curtain, inquiring in great agitation, after Lava (vi. 16). This is Lava's elder brother, Kuśa, returning from his errand to sage Bharata (vi. 17¹, cp. iv. 22³³ ff.). Enters Kuśa, bow in hand. Rāma admires his bearing (vi. 19). Lava introduces him to Rāma, who embraces him (vi. 21). As the day was growing hot, Lava suggests reposing under the shade of a tree (vi. 22¹), which they all do. The appearance and the deportment of the two boys (vi. 23 f.), their resemblance to Rāma and Sītā (vi. 25–27), their presence near the place where Sītā was abandoned, their inborn power over the missiles, which Rāma remembers now to have transferred in anticipation (i. 15²) to the offspring of Sītā, and particularly the fact of the boys being twins, as he knew would be the case with Sītā's issue (vi. 28),—all this seems to him to be mournfully tantalizing. Rāma weeps. Lava expresses

13] Synoptic Analysis of the Play concern for him (vi. 29). Kuśa wonders why Lava, knowing the Rāmā- yaṇa, should be surprised at Rāma's grief (vi. 30). If Rāma had hoped to ask the boys about their parentage and learn something definite, all his hopes were now at an end. The boys spoke of the hero of the Rāmāyaṇa in the most unconcerned way imaginable. Rāma now asks the boys to recite some stanzas from the Rāmāyaṇa (vi. 30³). Kuśa (vi. 31, 32) and after him Lava (vi. 36) hit upon passages which awaken the most painful memories in Rāma's mind (vi. 34, 37). At this point a voice behind the curtain states that Vasiṣṭha, Vālmīki, the Queen-mothers, Janaka, and Arundhatī, having heard of the fight between the boys and anxious for their safety, are coming that way (vi. 39). Rāma and the boys go away hurriedly to meet them (vi. 42³). ACT VII. THE REUNION TRANSLATION, PAGES 94–102. In the interval between Acts vi and vii Rāma has met all the elders. When their first grief had abated a little, all plied Vālmīki with questions regarding Kuśa and Lava. Vālmīki, anticipating all this, has arranged to have the Later History of Rāma enacted (play within play), in the sight of gods and men, by the celestial nymphs trained by Bharata (cp. iv. 22³¹). Scene 1 (vii. 0¹—vii. 20¹). An extensive open-air stage on the banks of the Ganges, near Vālmīki's hermitage. Time: afternoon of the same day. Enters Lakshmaṇa, who announces that the stage is ready and the audience seated. Enters Rāma (vii. 1¹) who orders the players to commence (vii. 1⁷).¹ Play within play, Prologue (vii. 1⁸—vii. 2¹). Enters Stage-manager, who requests the audience to be graciously attentive to the play of Vālmīki, 'the speaker of the Truth'. The lament of a woman is heard from behind the curtain (vii. 1¹³ ᶠᶠ·). The Stage-manager explains that it is Sītā, who, unable to bear the pangs, is throwing herself into the Ganges (vii. 2). Exit Stage-manager. Play within play, Scene 1 (vii. 2⁷—vii. 15¹⁰). Enters Sītā fainting, supported by two Goddesses—Earth and the Ganges—each with an infant in her lap. The Goddesses congratulate Sītā on the birth of twin sons (vii. 3). Sītā inquires who they were, and on learning ¹ The play within the play which follows is rupt the course of this secondary play by of the one-act kind known as prekshaṇaka. occasional remarks. For convenience the The characters of the original play inter- inner play is here given all by itself.

Bhavabhūti — Uttara-Rāma-Charita [14 that one of them was her mother, the Earth, she embraces her and swoons away (vii. 3¹³). On recovering, the Earth-goddess reproaches Rāma bitterly for his conduct (vii. 4ᵃ, ᵇ, 5), while Bhāgīrathī (the Ganges) tries to defend him (vii. 6). Sītā requests her mother to receive her into her womb (vii. 7²), but the Earth-goddess reminds Sītā of her duty by her two sons. A noise behind the curtain (vii. 8³). This is caused by the appearance of the jṛimbhaka missiles, who¹ have come, in accordance with Rāma's wishes (cp. i. 15²), to wait upon Sītā's offspring (vii. 10). The missiles are asked to depart, with an injunction that they should attend the twins whenever called upon (vii. 11). Sītā is at a loss to know (vii. 12²) how her sons were to be reared and educated. Bhāgīrathī proposes to give them over into the charge of Vālmīki (vii. 13¹ ᶠ.). Sītā once more prays the Earth-goddess to receive her into her womb (vii. 15³), but is asked to wait till the boys are weaned (vii. 15⁷). Exeunt all the characters of the play within the play. Rāma,² who all along was watching the play and experiencing alternating impulses of grief and joy, is quite overcome at its conclusion and goes into a swoon (vii. 15¹²). Lakshmaṇa calls upon Vālmīki for succour. A voice behind the curtain orders (vii. 15¹⁴) the removal of the stage-apparatus. It is not a drama but a reality that is happening now; for, from the heaving waters of the Ganges arise the forms of Bhāgīrathī, the Earth-goddess, and Sītā (vii. 16). The two Goddesses hand over the virtuous Sītā into the charge of Arundhatī, who now enters leading Sītā (vii. 18). Sītā touches Rāma, who revives, and is overjoyed to meet his lost Queen. The Goddess Bhāgīrathī reminds Rāma (vii. 18⁶) of his prayer to her (i. 23¹), which she heard and has granted. The Earth-goddess also reminds Rāma (vii. 18⁹) of his parting adjuration (i. 50³) to her, which she has faithfully followed. Arundhatī now admonishes the assembled people for their past conduct (vii. 18¹² ᶠᶠ.), and they salute Sītā in token of acceptance. Rāma also readily accepts his wife (vii. 19³). Exit Arundhatī (vii. 19⁹). Enters Vālmīki who now presents Kuśa and Lava as the sons of Rāma and Sītā (vii. 19¹³). To fill the cup of joy, Śatrughna, who had been sent (cp. i. 50¹) against the demon Lavaṇa, returns victorious (vii. 19²⁹). Vālmīki now asks Rāma if he desires anything else (vii. 19³²). The customary benediction (vii. 20) brings the drama to a happy close.

¹ Conceived as persons with human speech.    ² At this point the first scene of the play   They, however, speak from behind the      proper is resumed.   curtain.

UTTARA-RĀMA-CHARITA OR LATER HISTORY OF RĀMA ACT I UNTO the Bards of yore this tribute of homage we tender, and bow down [next] unto [the Goddess of] Speech, that portion (kalā) immortal of the Supreme-spirit. 1 After [this] Invocation— **Stage-manager—**Enough: Why make it too long?—To-day, indeed on this festival (yātrā) of the Exalted Lord Kālapriya,¹ I have a request for this distinguished assembly. Your honours will be pleased to understand that there is a worthy scion of the Kāśyapa family, bearing the appellation of Śrīkaṇṭha and known [also] as Bhavabhūti: On whom, [as on God] Brahmā, the Goddess [of] Speech attends like a submissive handmaid. The Later History of Rāma, com- posed by him, is [here] going to be represented [by us]. 2 Here now, in deference to the matter in hand, I am transformed into an inhabitant of Ayodhyā ² and a contemporary [of Rāma]. Looking about him. How now, Sirs! This the period of the coronation of His Majesty the Honoured Rāma, the fire that consumed the race of Pulastya ³—when this [period] is, day and night, to be celebrated with incessant festive music, wherefore then, to-day, are the bards silent in these quadrangles? An Actor, *entering—*Sir, they have been sent away to their homes by His Majesty—the high-souled Demons and Monkeys and [other] allies [of Rāma] in the war at Laṅkā,⁴ as also the priestly and the royal sages— the sanctifiers of the various quarters—that had honoured the ceremony by their attendance, and as a mark of respect unto whom there was this festivity this many a day. And now— ¹ Of whom there is a famous temple in Ujjain in Central India. See on this point, however, Introduction, § 3. ² Capital of Kosala, the kingdom of Rāma. ³ The grandfather of Rāma's enemy, the demon Rāvaṇa. ⁴ Seat of Rāvaṇa's kingdom and identified with Ceylon.

i. 3ᵃᵇ—] Bhavabhūti — Uttara-Rāma-Charita [16 Headed by Vasishṭha,¹ the Queen-mothers of Rāma, following the lead of Arundhatī,² are gone to the hermitage of [their] son-in-law for a sacrifice. 3 Stage-manager—Ah, that explains it. Actor—Being a stranger I ask, who can [this] son-in-law be? Stage-manager—King Daśaratha³ begot a daughter named Śāntā, whom—as an adopted child—he made over to king Lomapāda.⁴ 4 Her, Ṛishyaśṛiṅga, the son of Vibhāṇḍaka, married. He [Ṛishyaśṛiṅga] has now commenced a [sacrificial] session of twelve years; and, in consequence of that, leaving behind their daughter-in-law Jānakī,⁵ far gone with child though she is, the elders (guru)⁶ have gone thither. But what is [all] this to us? Come, let us rather repair to the royal portal, there to discharge the duties befitting our caste.⁷ Actor—If so, please your honour to think of some form of benediction— absolutely flawless—wherewith to approach [the King]. Stage-manager—Mārisha,⁸ It behoves us ever to be doing [whatever lies next]; for there is no escaping censure [any way]. As of women, so of compositions, people are malicious as to their purity (sādhutva⁹). 5 Actor—Ultra-malicious, say rather: For, even in the case of Queen Vaidehī,¹⁰ the people are not without their wicked talk. Her staying in the house of the Rākshasa¹¹ is at the bottom of it, and, as to the fire-ordeal,¹² they are not con- vinced. 6 Stage-manager—Should this scandal now come to [the ears of] His Majesty, it would be very unfortunate! Actor—In every wise will the sages and the deities work out a happy issue. Walking about. Ho, friends! Where now is His Majesty? Listening. So say the people: Coming hither to greet [Rāma] out of affection and having passed these days in festivity, Janaka has to-day gone to the Videhas.

¹ The family-priest of Rāma. ⁸ The regular form by which the stage- ² Vasishṭha's wife. manager addresses an actor, who in turn ³ Father of Rāma. calls him Bhāva. ⁴ Of the kingdom of the Aṅgas. ⁹ The word means both chastity and excel- ⁵ I. e. Sītā, wife of Rāma, daughter of Janaka. lence. ⁶ A word almost impossible to render by one ¹⁰ I. e. Sītā, daughter of Janaka, king of the English word. It is applied to any one Videhas. to whose authority deference is due: ¹¹ I. e. the demon Rāvaṇa who had abducted parents, elderly relatives, teachers, and her. persons of piety and learning. ¹² Which Sītā underwent after Rāma had ⁷ The actors were supposed to be Śūdras. secured her release.

17] Act I, Picture-gallery — Translation [—i. 9ᵇ To solace the Queen, disconsolate on that account, from his judgement-seat the Lord of men [Rāma] is now entering the residential palace. 7 They both go out. END OF PROLOGUE. Enters Rāma seated, and Sītā. Rāma—Cheer up, cheer up, my Queen, Vaidehī! The elders (guru) certainly would not have been able to leave us, Except that the urgency of the [stated religious] observances restricts their liberty [to stay here]; for verily the life of house- holders who have set up their Sacred Fires is hampered with [such] restraints. 8 Sītā—I know it, my noble Lord, I know it; and yet separations from [dear] relatives do cause pain. Rāma—Yes, just so. These things of the world do indeed gnaw at the very vitals of the heart; and it is from disgust with these that men of wisdom give up all interests and find peace in a forest. Chamberlain, entering—Rāma dear—breaking off apprehensively—I mean, Your Majesty! Rāma, with a smile—Nay, Sir! In the mouth of an [old] attendant of my father’s, ‘Rāma dear’ is just the fitting mode of address for me. Address me then as you have been used to do. Chamberlain—From Ṛishyaśṛiṅga’s hermitage Ashṭāvakra has arrived. Sītā—Then, Sir, why delay? Rāma—At once let him in. Exit Chamberlain. Ashṭāvakra, entering—Blessings on you both! Rāma—Exalted Sir, my obeisance. Be seated here. Sītā—Salutations unto you. Are all my elders (guru) and the noble Śāntā doing well? Rāma—In performing Soma-sacrifice I hope my brother-in-law, the exalted ) Ṛishyaśṛiṅga, is meeting with no hindrances?—And the noble Śāntā too? Sītā—And does she [ever] think of us? Ashṭāvakra, seating himself—Yes, certainly. Queen, the revered Vasishṭha [your family-preceptor], sends you this word: The All-sustaining [Earth], the exalted one, gave birth unto thee.¹ A king, the equal of [God] Prajāpati,² Janaka is thy sire. ¹ Janaka came upon Sītā while he was a holy sacrifice. Sītā means ‘furrow’. ploughing and preparing the ground for ² I. e. Creator. 3 [H.O.S. 21]

i. 9c—] Bhavabhūti — Uttara-Rāma-Charita [18 A daughter-in-law art thou, O gladdening one, of those kings of whose house the Sun¹ is the head (guru) and we are the preceptor (guru). 9 What else then can we wish thee, save this?—Be thou the mother of heroes! Rāma—We are [in this mightily] favoured; For, the speech of the worldly-wise saints follows the course of the event (artha), whereas, of the ancient sages, it is the event which speeds after [their] utterance. 10 Ashṭāvakra—This is what the exalted Arundhatī and the Queen-mothers and Śāntā have told again and again: Whatever longing² Sītā may conceive, that should without fail be forthwith gratified. Rāma—We are doing whatever she says. Ashṭāvakra—And her sister-in-law's husband, Ṛishyaśṛiṅga, says this unto the Queen: Far gone with child as thou art, thou, my child, hast not been brought here. Dear Rāma also, for thy solace, has been left behind. So now we shall see thee, the long-lived one, with sons gracing thy lap. Rāma, with a smile of joy and bashfulness—So be it! Has not the exalted Vasishṭha, however, any mandate for me? Ashṭāvakra—Listen: This sacrifice at the son-in-law's has kept us engaged; thou art but a boy and new to thy kingdom: In the propitiation of thy subjects be thou [therefore] diligent. What glory comes out of that is your supreme treasure. 11 Rāma—As [Vasishṭha] the exalted son of Mitra and Varuṇa says. Affection and compassion and felicity—yea, even this daughter of Janaka [Sītā]—for the propitiation of the people I can abandon and feel no pangs. 12 Sītā—And hence it is that my noble Lord is the foremost of the [race of] Raghus. Rāma—Ho, some one without, let Ashṭāvakra be attended to. Ashṭāvakra, rising [and] walking about—Lo, it is prince Lakshmaṇa coming. Exit. Lakshmaṇa, entering—Victory attend my noble brother! Noble Sir, that painter has, as ordered by us, drawn, in this corridor here, [scenes from] your career: Will the noble Lady have a look? Rāma—Thou knowest, dear brother, [how] to divert [the mind of] the sorrowing Queen. How far do these pictures go? ¹ Rāma belonged to the Solar race of kings. promotes perfect development of the ² Pregnant women are supposed to have unborn child. longings, the prompt satisfaction of which

19] Act I, Picture-gallery — Translation [—i. 15⁶ Lakshmaṇa—As far as the fire-ordeal of the noble Lady [Sītā]. Rāma—Peace! Pure even in her [very] birth, what need has she of other [external] purifications? Holy Water and Fire surely do not need to be made pure by other things. 13 O my Queen, sprung from the [very] sacrificial ground of the Gods, pardon! Here is unto thee my life-long homage. Hard [to please] is the people, and those whose wealth is [the fame of] their family have to follow [the people's] humours! So, whatever unkindly I spoke¹ unto thee was unmerited by thee. By its very nature unto a sweet-smelling flower is ordained a place on the head, and never tramplings under the feet. 14 Sītā—Never mind, noble my Lord, never mind. Come, let us rather, if you please (dāva), see [those pictures of] your career. They rise and walk about. Lakshmaṇa—Here is the painting. Sītā, inspecting it—Who now are these up above, standing close together and seeming as if praising my noble Lord? Lakshmaṇa—These are those jṛimbhaka² missiles and their spells (rahasya), which from the exalted Kṛiśāśva were passed on to the son of Kuśika, [I mean] to sage Viśvāmitra³—that friend (mitra) of the universe (viśva), who in his turn, at the killing of Tāṭakā⁴, presented the same as a favour to my noble brother. Rāma—Salute, my Queen, these divine missiles: Brahmā⁵ (Brahmán) and others, in the interest of the Sacred Truth (bráhman), practised penances for over a thousand autumns. And then those Sires (guru) of old obtained a vision of these [missiles] as if these were the very fires of their own penances. 15 Sītā—My homage unto these. Rāma—Assuredly now these will attend upon thy offspring. Sītā—This is a [great] favour. Lakshmaṇa—This here is the scene at Mithilā.⁶ Sītā—Lo! Like a newly-expanding blue lotus dark and soft and tender and fully developed in the charms of his person—[my] father gazing in rapt amazement on his mild and lovely form—the bow of [God] Śaṅkara ¹ At the time of the fire-ordeal at Laṅkā. ² I. e. missiles producing stupor. They are conceived of in a human shape. ³ Rāma's instructor in archery and warfare. ⁴ A frightful she-demon and molester of pious sacrifices. She was killed by Rāma. ⁵ Creator of the universe. ⁶ Capital of Janaka and the place where, after successfully passing through the test of wielding the heavy bow of God Śiva (or Śaṅkara), Rāma and his brothers married Sītā and her sisters.

i. 15ᵇ—] Bhavabhūti — Uttara-Rāma-Charita [20 broken [in twain] with a careless ease—the [waving] tufts of hair grace- fully adorning [his face]—thus is my noble Lord painted here! Lakshmaṇa—Look, noble Lady, look at this: To these relatives headed by Vasishṭha here is thy father [Janaka] offering worship—as also Śatānanda, the son of Gotama and priest of the Janaka-family. 16 Rāma—This is a sight to see! Of the family of Janaka with that of Raghu¹ to whom is the union not pleasing?—wherein both the giver and the receiver is the son-of-Kuśika [Viśvāmitra] in person. 17 Sītā—Here in sooth are all ye four brothers—your godāna² ceremony just performed—ready (dīkshita) for the wedding. Ah! I feel as if in that very same place, on that very same occasion I were [again] present. Rāma—To me [also] it seems to be again that self-same hour when, like unto a great festival incarnate, it thrilled me with joy, O fair- faced one,—this thy hand offered [me] by the son of Gotama and begirt with lovely [nuptial] bangles. 18 Lakshmaṇa—This [here] is my noble Lady; this again, the noble Māṇḍavī³: This here, likewise, [our] daughter-in-law, dear (vadhū) Śrutakīrti.⁴ Sītā—And who, dear brother (vatsa), is this other one here? Lakshmaṇa, with a bashful smile⁵, aside—I see, it is [my] Ūrmilā that the noble Lady is asking for. Well, I'll change the subject. Aloud. Here, my noble Lady, here is something worth seeing; for here is the exalted son of Bhṛigu.⁶ Sītā—Oh, how I tremble! Rāma—My homage to thee, O sage! Lakshmaṇa—Behold, behold, noble Lady! Here is this [sage], by my noble brother— Rāma, impatiently interrupting him—Don't you see there is much more to be seen: show us what follows. Sītā, gazing [at Rāma] with affection and deep respect—How well dost thou, my noble Lord, shine in this thy excess of modesty! Lakshmaṇa—Here is our arrival at Ayodhyā. Rāma, with tears—I remember, alas! I remember:

¹ A famous ancestor of Rāma. ² Literally, ‘hair-clipping’ ceremony. For its nature see Notes. ³ Wife of Lakshmaṇa’s elder brother, Bharata. ⁴ Wife of Lakshmaṇa’s younger brother, Śatrughna. Notice the difference in the mode of address. Since a younger brother is in the status of a son, his wife is the elder brother’s daughter-in-law. ⁵ For one may not utter his wife’s name, especially before elders. ⁶ Paraśu-Rāma or Rāma with the axe, a Brahman warrior and sage whom Rāma, the hero of this play, vanquished.

21] Act I, Picture-gallery — Translation [—i. 23ᶜ Our most honoured sire ¹ still alive—we only just wedded to our brides—the Queen-mothers looking to all our needs: gone indeed are those [happy] days of ours! 19 And then too this daughter of Janaka [Sītā]— With her fine, slender, and charming locks-of-hair glistening at the ends [as they were wafted by the wind]; with her bud-like teeth enhancing the beauty of her face—child as she yet was; with her delightfully lovely—as if made out of moon-beams—and guilelessly sportive and sweet and tender limbs: she was the joy of our Queen-mothers! 20 Lakshmaṇa—This is Mantharā.² Rāma, passing on silently to another place—Queen Vaidehī, This is that iṅgudī tree in the city of Śṛṅgavera, where, formerly,³ we came in contact with that friendly king of the Nishādas [hill-tribes]. 21 Lakshmaṇa, with a smile, aside—So, I see, my noble brother has skipped over the story of our second (madhyama) mother! Sītā—Ha! This is the scene at the tying⁴ of the matted-hair (jaṭā). Lakshmaṇa—With their sovereignty transferred to their sons what the old sires of [the race of] Ikshvāku⁵ undertook, that, in his [very] youth, my noble brother undertook—the holy vow of an anchorite. 22 Sītā—This is the exalted Bhāgīrathī [Ganges] with her serene and holy waters. Rāma—Goddess! Presiding-divinity of the race of Raghu! Salutations unto thee. Busily engaged in search of the [lost] horse, when—at the time of Sagara's⁶ [horse-]sacrifice—[his sons] cleft the earth open and were through [sage] Kapila's wrathful radiance burnt to ashes, it was Bhagīratha, practising penances heedless of the sufferings of his body, who was able, after a very long time, to save [those sixty ¹ His father Daśaratha. ² An old nurse and attendant of Kaikeyī, the second wife of Daśaratha, and the moving spirit of the intrigue which brought about Rāma's banishment, instead of his instal- lation as heir-apparent. ³ After crossing the Ganges on their way to banishment. ⁴ In preparation for assuming a forester's life. ⁵ Another famous ancestor of Rāma. ⁶ King Sagara of the Solar race commenced a horse-sacrifice. But the horse was stolen away. In search, the sixty thousand sons of Sagara ripped the earth open. There they came upon sage Kapila, who burnt them to ashes for their insolence. Their great-grandson, Bhagīratha, brought the Ganges down from the skies; and as the holy waters touched the ashes, the sixty thousand sons attained heaven. The Ganges is called Bhāgīrathī after Bhagīratha.

i. 23ᵈ—] Bhavabhūti — Uttara-Rāma-Charita [22 thousand sons,] those grand-sires of his own sire, when, O exalted one, they [their ashes] were touched by thy [holy] waters. 23 Be thou, therefore, O [divine] mother, towards [this] thy daughter-in-law, Sītā, ever cherishing kindly thoughts—even like Arundhatī [herself]! Lakshmaṇa—Here, on this way leading to the [mountain] Chitrakūṭa, which was shown us by [the sage] Bharadvāja—[here] upon this bank of the [river] Kālindī [Jumna]—is the banian-tree named Śyāma. Sītā—Does my noble Lord remember this region here? Rāma—How can I, darling, forget it! For it was here that these tender-limbs of thine, lovely and languid and drooping like a crushed lotus-stalk—exhausted with the journey’s fatigues, [and so] close [mutual] embraces [alone] doing the work of their shampooings—[these limbs of thine] thou didst on my bosom repose and so sink into sleep! 24 Lakshmaṇa—Here is [the demon] Virādha obstructing [our] entrance into the Vindhya-forest. Sītā—Have done with this. I would rather see how—my noble Lord’s hand holding a tāla-branch as an umbrella over me and [thus] shielding me from the sun—how we journeyed through the Southern Forest. Rāma—These here, along the banks of the mountain-rillets, these are the penance-groves of the hermits who find shelter under the trees. In these [groves], ever intent on hospitality, the peaceful dwellers, cook their handful of wild-rice (nīvāra) and have their dwellings. 25 Lakshmaṇa—[This mountain,] with its dense clusters of trees imparting a deep glossy blueness to the forests on its slopes, [forests] which hem in [the current of the river] Godāvarī and [thus] cause the ravines to resound —[this here,] with its blueness still further enhanced by the incessantly pouring clouds [on its top]—here, situated in the heart of Janasthāna,¹ is this mountain Prasravaṇa.² Rāma—Dost thou, O fair-limbed one, remember, on this mountain— while Lakshmaṇa attended upon us and chased away all our cares—those days [that we once passed]? Dost thou likewise remember [the river] Godāvarī with its refreshing banks? And dost thou also remember our strolls in its neighbourhood? 26 Here likewise— While those delicious nothings (kimapi) softly, gently—cheek meeting cheek in [close] contact—we kept talking at random; while a fast embrace kept of us both a hand each engaged— ¹ The habitable section of the forest of      ² Literally, ‘streaming’ or ‘full of streams’.    Daṇḍakā.

23] Act I, Picture-gallery — Translation [—i. 30² its watches speeding unnoticed [in succession]—thus did the night come to an end! 27 Lakshmaṇa—Here is Śūrpaṇakhā ¹ in the Pañchavaṭī.² Sītā—Alas! my noble Lord! No sight of thee hereafter! Rāma—O thou, frightened at [the mere thought of] separation, this is only a picture! Sītā—Be that as it may, a wicked person is [ever] the source of unhappiness. Rāma ³—Why, in sooth, this Janasthāna incident does seem as if [happening in the] present. Lakshmaṇa—Hereafter the demons, through the trick of the disguise [in the form] of the golden deer ⁴—the wicked ones—did in this wise [as represented in the picture] that which [even now] smarts us, though it has been washed off [in the enemy's blood]. In the void of Janasthāna these doings of my noble brother, in his piteous helplessness, they cause even the stone to weep and the heart of adamant to burst! 28 Sītā, with tears, to herself—Alas! Thus, O thou Joy of Raghu's race, [thus] wast thou on my account afflicted! Lakshmaṇa, looking at Rāma, significantly—What is this now, my noble brother? These thy welling (ogha) tears—like some broken threads of a pearl-necklace—trickle down and roll on the ground in streams of shattered drops. Restrained though it is, this emotion, which in its excess swells and fills thy heart, doth [nevertheless], through thy quivering lips and nostrils, become inferable by others. 29 Rāma—Dear brother, Born of that [former] separation from my beloved [that fire of grief]—tormenting as it was—it was, in the hope of vengeance, then endured by me. Now once again that [same] fire of grief, as it flares out in my mind, like a [festering] wound in the vitals of the heart doth it smart me with pain. 30 Sītā—Alas! Alas! I too, in the intensity of my anguish, feel myself as if sundered from my noble Lord!

¹ Sister of the demon Rāvaṇa. Foiled in her attempt to seduce Rāma and Lakshmaṇa, and being punished by them, it was she who incited Rāvaṇa to abduct Sītā. ² That part of Janasthāna where Rāma lived with his wife and brother. ³ A slight interval during which they pass in review a few more pictures (such as Rāma's fight with the fourteen thousand, cp. ii. 15) must here be presupposed. This renders intelligible Rāma's change of feeling between this speech and his speech immediately preceding. ⁴ This was the trick used to draw Rāma and Lakshmaṇa away from Sītā, whom Rāvaṇa forthwith seized and carried off.

i. 30⁴—] Bhavabhūti — Uttara-Rāma-Charita [24 Lakshmaṇa, to himself—Well then, I will create a diversion. Looking at the picture, aloud. Here now, aged by [the full length of] an eon,¹ is this king of vultures, father Jaṭāyus² of honoured name, and [here] the illustration of his valorous conduct. Sītā—Alas, father! To its most bitter end (nir-) hast thou carried [this] thy filial love! Rāma—Alas, father! Thou descendant of Kaśyapa [and] monarch of the winged tribes! Where can there be found, once again, another like thee— a store of holiness, a saint? Lakshmaṇa—This here, west of Janasthāna, is what they call Chitrakuñja³ —a portion of the Daṇḍakā forest inhabited [once] by the headless Danu. This on the mountain Ṛishyamūka is the hermitage of [sage] Mataṅga, and the grounds (padam) adjoining it. Here is the most saintly Śabara lady, Śramaṇā by name. That again is the lily-pool called Pampā.⁴ Sītā—Here, as I learn (kila), my noble Lord—[all] his passion [for revenge] (amarsha) and courage forsaking him—wept aloud and in the very fullness of his heart (kaṇṭha). Rāma—My Queen, lovely is this [lily-]pool [to me]: [For,] in this [pool]—when in their youthful merriment the [blue-beaked] mallikāksha birds shook with their wings the broad and tremulous stalks of the [white] lotuses—in the intervals between the risings and fallings of tear-drops, I perceived the regions to be full of [blue] lotuses.⁵ 31 Lakshmaṇa—This is the noble Hanūmant (Māruti).⁶ Sītā—This is he who has conferred a mighty blessing on this [entire] living world by uplifting it from the despair wherein it was long plunged—he of resistless prowess, Māruti! Rāma—Happily this is he of mighty arms—the source of Añjanā's⁷ joy—by whose valour blessed [in the attainment of their end] are we ourselves and [all] the worlds! 32 Sītā—Dear brother, this here, with the full-plumed peacocks (barhin) dancing upon its flowering kadamba trees, by what name is this mountain called?—where, his majestic grace being all that is left of his pale beauty—

¹ A manvantara or eon = 306,720,000 human years. ² The vulture Jaṭāyus was a friend of Rāma's father, and met death in the attempt to prevent Sītā's abduction. ³ Lit. 'having many bowers'; the monster Danu infested it. ⁴ For all these persons and places see the Notes to the passage. ⁵ By a transference of the birds' colour to the lotuses on which they were perching. ⁶ A monkey-chieftain, ally of Rāma. He met Sītā in her captivity at Laṅkā, and carried news of her back to Rāma. ⁷ The mother of Māruti.

25] Act I, Picture-gallery — Translation [—i. 35ᵇ about to swoon and supported by thy sorrowing [hands]—in the shade of this tree, my noble Lord is depicted ? Lakshmaṇa—This is that mountain perfumed with the [fragrant] kakubha-[trees], Mālyavant by name, on whose peak is perching an early rain-cloud, glossy and blue. Rāma—Desist, my dear brother, desist from this: no farther can I endure. Come back to me once again, meseems, is that separation from [this] daughter of Janaka. 33 Lakshmaṇa—Hereafter [come], both of my noble brother and of the valorous Monkeys and Demons, these countless and waxingly marvellous deeds. Fatigued, however (cha), is my noble Lady here. Pray, therefore, rest a while. Sītā—Noble my Lord, the sight of these pictures has created [in me] a longing, which prompts me to beg that— Rāma—Why, you are free to command. Sītā—I feel once again like amusing myself in the serene and lovely woodlands, and having a plunge in the holy, cool, and translucent waters of the exalted Bhāgīrathī. Rāma—Dear Lakshmaṇa! Lakshmaṇa—Here, at your service. Rāma—That such longings should be forthwith gratified has even just now been enjoined upon us by [our] elders (guru). Have ready therefore a chariot that runs smoothly and without jolting. Sītā—And you, my noble Lord, you are coming thither—aren't you? Rāma—Why, you hard-hearted one! This—needs it to be said? Sītā—Then, indeed, I am content. Lakshmaṇa—So, as my noble brother commands. Exit. Rāma—Dearest! Here, in this sheltered-balcony (apavartaka), let us repose a while. Sītā—So be it. Through fatigue I am really overpowered by sleep. Rāma—If so, cling to me close and we will go [thither] together: As if infusing life into me, let this thy arm—moist with drops of perspiration due to excitement and fatigue—let it be thrown around my neck: [thy arm] in all the loveliness of a necklace of chandrakānta¹ beads, dripping [as when gently] kissed by the moon-beams. 34 While helping her to do so, in joy. Dearest! What can this be? Impossible to decide if this be joy or if this be grief, if a swoon or a slumber; whether this be a slowly-creeping poison or an ¹ The 'moon-stone' is believed to have this property. 4 [H.O.S. 21]

i. 35ᵇ—] Bhavabhūti — Uttara-Rāma-Charita [26 infatuation [of some sort] : for, at every touch of thine, a [certain] feeling, benumbing all my senses, [possesses me, and] now bewilders my soul (chaitanya) and now paralyses it quite! 35 Sītā, with a smile—'Tis all your unchanging affection : how else then could it be ? Rāma—Causing the drooping flower of my life to bloom—filling me with transport—ravishing all my senses—these endearing words of my lotus-eyed one : they are as ambrosia to the ear and as elixirs to the mind ! 36 Sītā—Come, thou of honeyed words! Let us rest. Looks about for something to sleep on. Rāma—And what, pray, wouldst thou look for ? Ever since the time of our wedding, at home or in the forest, in girlhood and then again in young-womanhood, what has [ever] lulled thee to sleep and what no other woman can claim—Rāma's arm, thy pillow, is here. 37 Sītā, going into sleep—It is even so, my noble Lord ! It is even so. Sleeps. Rāma—Why, with sweet words on her lips she has already fallen asleep on my bosom ! gazing, in fondness— She to the house a very Lakshmī¹—to the eyes an ambrosial pencil—this touch of hers like a thick sandal-juice to the body— this [her] arm round [my] neck, cool and tender as a pearl- necklace : what of hers is not dear, save only that unendurable separation ? 38 Pratīhārī,² entering—Has come, my liege ! Rāma—And who ? Pratīhārī—The personal attendant of Your Majesty—Durmukha.³ Rāma, to himself—Oh, Durmukha, who is on duty about the harem ? Him I had employed as a spy upon my subjects in the city and in the country. Aloud. Let him come in. Exit Pratīhārī. Durmukha, entering, to himself—Alas! how now, concerning the Queen Sītā, such an unthinkable public slander may I report unto the King ? But (adhavā) such indeed is the lot of [men like] me, ill-starred. Sītā, talking in her sleep—Alas! Gentle my Lord! Where art thou? Rāma—How now ! Of that torment-giving separation this must be the [latent] impression ⁴ (bhāvanā) which my Queen received while looking at ¹ The Goddess of wealth and plenty. ² A female warder. Her words 'has come' Rāma construes with the last word of his speech, 'separation'; hence his surprised question. 'Separation' in Sanskrit is masculine. ³ 'Foul-mouthed' or 'with face of evil omen'. ⁴ The poet is here purposely technical.

27] Act I, Picture-gallery — Translation [—i. 42ᵈ the pictures, and which is [now] causing her these perturbed dreams. Affectionately stroking her. Uniform (advaita) in happiness and in sorrow—conformable (anuguṇa) to all the conditions [of life]—in which the heart finds solace—the flavour of which age cannot stint—which with time, as the veil-of-reserve (āvaraṇa) drops away, abides as a perfect and ripened affection—that one supreme-blessing (bhadra) [only] the fortunate among mankind, and after a sore trial (katham api), attain. 39 Durmukha, approaching—Victory unto Your Majesty! Rāma—Speak what you have found out. Durmukha—They praise Your Majesty—the people both in the city and in the country—saying, ‘King Rāma has made us forget King Daśaratha’. Rāma—A mere compliment this: tell me of some fault or other so that it may be set right. Durmukha, with tears—Let the King listen [then]. In his ear [whispers] so and so. Rāma—Alas! How sudden in its blow is this thunderbolt of a speech! Faints. Durmukha—Take heart, my King! Rāma, coming to himself— Alas, oh alas! That scandal, due to the residence in a stranger’s house of this daughter of the Videha-King, [that scandal] which [formerly] through means miraculous we had put down—that, like a mad hound’s venom, is once again, by an adverse turn of fortune, spreading fast (pra) everywhere! 40 What then—ill-starred that I am—may I do in this case? After reflecting, mournfully. Or, what else is there [to it]? For good men, by some means or other, propitiation of the people [must be] a sacred duty (vrata)—[a duty] which, moreover (hi), my father fulfilled,¹ though [thereby] losing me and his [own] life. 41 Just a short while ago did the exalted Vasiṣhṭa send [me] his mandate.² Furthermore, [That long career] which hath been made glorious by the Children of the Sun—the rulers of the Earth, the foremost of men—if that pure and unblemished career [of this Solar race] should, on my account, by some foul calumny be disgraced—then, alas! fie on me, the unblessed! 42 ¹ For the palace-intrigue which caused Rāma’s death, see Introduction, § 18, E. banishment and his father Daśaratha’s Compare stanza 11, above.

i. 42¹—] Bhavabhūti — Uttara-Rāma-Charita [28 Alas, my Queen, who hast uprisen from the [very] sacrificial ground of the Gods! Who by thy birth hast graciously purified [the womb of] the Earth! Who hast been a joy to Janaka and [the whole race of] Nimi!¹ O thou whose character [even] Fire and Vasiṣṭha and Arundhatī have commended! Thou to whom Rāma is life and all! Thou the dear companion of my residence in the great wilderness [of Daṇḍakā]! Dear unto my [honoured] father! Sweet and measured in thy words! How is it that of one like thee such here should be the fate?— Through thee [are] the worlds holy—unholy [are] the world’s rumours about thee! Thou art the world’s protection—without protector thou wilt [now] perish! 43 Go, Durmukha, say unto Lakshmaṇa: This is what thy new King, Rāma, commands thee. In his ear [whispers] so and so. Durmukha—And wherefore [unto the Queen] whose purity has been attested by the fire-ordeal and who bears in her womb the [hopes of the] continuance of this holy race of Raghu—[wherefore] unto a queen, on base wretches’ words, has Your Majesty resolved to mete out such treatment? Rāma—Peace! The people of my city and my country—base wretches? Ikshvāku’s race hath [ever] been beloved of the people: and [yet in it] hath arisen, as Fate will have it, an occasion of scandal. And as for that miraculous event at the time when the Queen was cleared [by the ordeal]—who will believe it, since it took place [in Laṅkā] so far away? 44 Go therefore. Durmukha—Alas, Queen! Exit. Rāma—Woe and alas! Detestable in my actions—a savage—have I been! From childhood on, with kind cares (priyaiḥ), to her wants have I ministered—my dearest, who in her love hath naught but me on whom to rest: her I am treacherously handing over to Death, as does a butcher his pet house-bird! 45 Wherefore then should I—the untouchable criminal—[yet continue to] pollute the Queen [by my touch]? Gently uplifts Sītā’s head, withdrawing his arm. [Me,] an outcaste whose deeds it were hard to match, let me go, thou artlessly-innocent one! Thou hast clung, mistaking it for a sandal-tree, to what is only a poison-tree with fruit of bane. 46 Rising. Alas! [to me] topsy-turvy now is this world of life. Ended is the life-purpose of Rāma. A void, now, a wasted wilderness, is the universe. Robbed-of-its-charms is my existence [hereafter]. My body a mere abode ¹ Ancestor of Sītā’s father, Janaka.