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

Introduction [lxxxviii It is touches like these¹ that tell us as much about the character of the chamberlain as the two descriptions of it given by Kālidāsa (Śākuntala, v. i; Vikramorvaśīya, iii. 1). In this connexion we may observe that the poet is at pains to put in the mouth of each character words the most appropriate. Thus Lava, pupil of the saint Vālmīki, speaks a language that is tinged with religious learning (v. 31¹), just as the language of Janaka is tinged with the philosophy for which he is so famous in the Upanishads. Tamasā, the River-goddess, is full of similes drawn from her experience in the water.² The two ascetic youths in the interlude to act iv, Uttara-Rāma-charita, take a keen pleasure in logical discussions, attempting to detect fallacies and draw subtle distinctions, just as students might have done in the great mediaeval universities of India. Bhavabhūti has also given us some very beautiful pictures of animals, investing them of course with human feelings.³ 48. Conclusion.—But it is hardly necessary to enumerate all such merits one by one. Appreciative criticisms of this sort are more or less subjective, and it is no longer the fashion for a translator or an editor of an ancient text to take his reader by the button, stop him in front of every picture, and ask him to admire it, and even to tell him how he should admire it. If a modern reader, and especially a foreigner, is given just the help necessary to understand the exact situation, and to get from it the exact implication that was got by a Hindu of Bhavabhūti's time who saw the play acted, that is all that can be expected in an edition like this. Once the preliminary ground has been cleared, and the needful informa- tion given, the play can confidently be left to win its own conquests. It will not lack readers. In India it has never lacked enthusiastic admirers. Never, O never mayest Thou condemn me to sing my song unto hearts that answer not! Such was the prayer of an old Sanskrit poet. A deeper note was struck by Bhavabhūti: It may be that a spirit kindred to mine will some day be born; for time is endless, and the world is wide! ¹ Cp. also our Note to U. R. C. iii. 26². iii. 43ᶜ; and iii. 48. ² Cp. U. R. C. iii. 13ᵈ; iii. 24; iii. 30; iii. 35ᵇ; ³ Cp. iii. 15 f. ; iii. 20 ff. ; iv. 1ᵃᵇ ; iv. 26 ; &c.

TRANSLATION 1 [H.O.S. 21]

DRAMATIS PERSONAE¹ A. MAIN CHARACTERS. Rāma, King of Kosala (capital Ayodhyā), son of Daśaratha and Kausalyā. Ashṭāvakra, a Brahman messenger. Durmukha,† a state spy. An aged chamberlain (kañchukin). A female warder† (pratīhārī). Śambūka, a Śūdra ascetic killed by Rāma.² Kausalyā,† Rāma’s mother, widow of King Daśaratha.³ Grishṭi, a chamberlain in attendance upon her. Sītā,† Rāma’s wife, daughter of King Janaka and Earth-goddess. Janaka, Sītā’s father, King of Videha (capital Mithilā). Arundhatī, wife of sage Vasishṭha, Rāma’s family-preceptor. Kuśa and Lava, twin sons of Rāma and Sītā. Vālmīki, foster-father and teacher of the twins, author of the Rāmāyaṇa. Lakshmaṇa, Rāma’s half-brother, son of Daśaratha and Sumitrā. Chandraketu, son of Lakshmaṇa and Ūrmilā. Sumantra, Chandraketu’s charioteer. A man (purusha) from Chandraketu’s army. ¹ Speakers behind the curtain and persons addressed ākāśe are not separately men- tioned here. ² He is immediately reborn as a celestial being. ³ Often spoken of in the plural : Daśarathasya dārāḥ or mahishyaḥ, Rāmasya mātaraḥ, ambāḥ, &c. This may be a plural of respect, although there is also the impli- cation of the mere presence of the step- mothers of Rāma. † These four characters speak Prākrit; the rest, Sanskrit.

B. INTERLOCUTORS.¹ For the Prologue at the beginning of Act i. Reciter of the customary Invocation (Nāndī). Stage-manager (Sūtradhāra). An actor. For the Interlude at the beginning of Act ii. Vāsantī, a sylvan deity of the forest of Daṇḍakā.² Ātreyī, a former student of Vālmīki's. For the Interlude at the beginning of Act iii. Tamasā, Goddess of the river Tamasā.² Muralā, Goddess of the river Muralā. For the Interlude at the beginning of Act iv. Bhāṇḍāyana } Saudhātaki,† } ascetic boys, fellow-students of the twins at Vālmīki's. For the arrival of the horse, near the end of Act iv. Boys (baṭavaḥ) much excited upon seeing the unfamiliar animal. For the Interlude at the beginning of Act vi. An air-sprite (Vidyādhara) } witnesses, in an aerial car, of Lava's His mate (Vidyādharī),† } combat with Chandraketu. For the play within the play in Act vii. Stage-manager, for the Prologue in Vālmīki's little play. Sītā,† a heavenly nymph (apsaras) representing Sītā. Earth-goddess (Pṛithivī), mother of Sītā } nymphs enacting these Goddess of the river Bhāgīrathī (Ganges) } parts.³ Twin boys, just born. ¹ These figure mainly in the Prologue and the Interludes, and give information of events not enacted on the stage. ² Takes also an active share in the main plot of Act iii. ³ The real Pṛithivī and Bhāgīrathī have only a stanza in common (vii. 17), and each has separately a short speech from behind the curtain. † These three characters speak Prākrit; the rest, Sanskrit.

SYNOPTIC ANALYSIS OF THE PLAY PROLOGUE: i. 1—i. 7² TRANSLATION, PAGES 15–17. Scene* 1 (i. 1—i. 2). Ujjain (?): a booth at the fair of Kālapriyanātha. The Director recites the customary Invocation (i. 1); he withdraws upon the entrance of the Stage-manager (i. 1¹), who announces the title of the play, with a few words about its author (i. 1³—i. 2). Scene 2 (i. 2¹—i. 7²). Ayodhyā: a large square near Rāma's palace. The Stage-manager, now representing one of the many bards assembled for the coronation of Rāma after his victory at Laṅkā, inquires (i. 2³) why the festal music in the squares has ceased. Enters an actor and replies that it is because the coronation is over and the guests are gone. He adds that the Queen-mothers and other persons of age and authority have left Ayodhyā¹ to attend the twelve-year² sacrifice (i. 3) at the hermitage of Ṛiṣhyaśṛiṅga, the husband of Rāma's sister Śāntā, and that they did so reluctantly, as it involved their leaving behind them Sītā, now far gone with child. The actor also alludes incidentally to a false rumour about Sītā (i. 6), and expresses assurance (i. 6²) that sages and deities will intervene³ in order that no evil may come out of it. Upon inquiry they learn that Rāma is just returning home to comfort the disconsolate Sītā (i. 7), and so the Stage-manager and his companion go about their duties (i. 7¹, i. 4³). * In this synopsis the play has been divided into scenes, irrespective of the canons of Hindu dramaturgy, which do not recognize such a division. The entrances and exits and the place of action have served as the guiding principle. ¹ This statement makes it clear that, in the absence of persons to whose authority Rāma owed deference (his gurus), he is acting of his own accord when he aban- dons his wife. Compare ii. 6¹⁰, iv. 10⁵. ² This period represents the interval between the first Act and the rest of the action of the play. It is alluded to more than once later; compare ii. 6¹², iii. 34, vii. 15, &c. ³ And this in fact they do, thus bringing about a non-tragic ending to the play. Cp. iii. 3, vii. 17, vii. 18⁶ff.

5] Synoptic Analysis of the Play ACT I. THE PICTURE-GALLERY TRANSLATION, PAGES 17–30. Scene 1 (i. 7³—i. 14³). Ayodhyā: A chamber in Rāma's palace. Enter Rāma and Sītā. He tries to console her. Enters the chamberlain (i. 8⁶) to announce the arrival of Aṣṭāvakra, a messenger from Ṛiṣyaśṛiṅga's hermitage, and exit. Enters Aṣṭāvakra with his message: A. that all is well with the Queen-mothers and the rest, and that they confidently expect (i. 9¹) for Sītā heroic¹ progeny; B. that all the women enjoin upon Rāma to satisfy promptly any longings of pregnancy (i. 10²) that Sītā may have; and C. that his family-preceptor, Vasiṣṭha, exhorts Rāma to do his utmost to keep his subjects pleased.² Exit Aṣṭāvakra, announcing the entrance of Lakṣmaṇa. Enters Lakṣmaṇa and proposes (i. 12⁵), as a diversion, a visit to the picture-gallery. Scene 2 (i. 14⁴—i. 33¹⁶). Ayodhyā: the palace-corridor with paintings on the walls depicting Rāma's earlier history. Rāma and Sītā inspect the paintings,³ Lakṣmaṇa serving as cicerone or guide and explaining them (i. 14⁴—i. 33²). The pictures of these familiar scenes arouse in Sītā a longing (i. 33⁶ f.) for an excursion to the Ganges. Rāma orders Lakṣmaṇa to bring forthwith an easy carriage for her (i. 33¹¹ f.). Exit Lakṣmaṇa (i. 33¹⁶). Scene 3 (i. 33¹⁷—i. 51¹⁵). Ayodhyā: a balcony near the palace-corridor. After the pictures Sītā feels fatigue. Rāma begs her to rest; she does so, her head pillowed on Rāma's arm, and falls asleep (i. 37³). Enters a female warder (i. 38¹) to announce Durmukha, an old and trusty spy, and exit. Enters Durmukha (i. 38⁸), who, with grief, whispers to Rāma (i. 39⁷) the scandalous rumour about Sītā. Rāma knows her innocence and yet, to please the people, resolves to abandon her (i. 40¹).

¹ The Sanskrit word for 'heroic' means both 'valorous' and 'male'. ² This message has an important bearing on the action of the play. A. The confident expectation as to the sex of Sītā's offspring, and Rāma's further knowledge (cp. vi. 28) that it was to be twins, serve as im- portant links in the recognition and final identification of the two sons when Rāma encounters them in Act vi. B. gives Rāma the pretext under cover of which Sītā is led away (cp. i. 33⁷f., i. 43¹, i. 51⁹f.). C. Vasiṣṭha's reminder fortifies Rāma in his resolve (i. 41¹, i. 42).

³ This episode gives occasion for the tender love between Rāma and Sītā to show itself, and thus heightens by contrast the grief of their ensuing separation. Incidentally the sight of the picture of the magic missiles (jṛimbhakāstra) leads Rāma to assure Sītā that the actual missiles shall be at the service of her offspring (i. 15²). The picture of the Ganges calls forth from Rāma a prayer to the river for Sītā's welfare (i. 23¹). Both these inci- dents are important in the dénouement of the play.

Bhavabhūti — Uttara-Rāma-Charita [6 He bids Durmukha tell his change of plan to Lakshmaṇa (i. 43¹). Exit Durmukha (i. 44²). Rāma tears himself gently from his sleeping wife (i. 46). His lamentations (i. 46¹—i. 49²). A voice behind the curtain tells him of a danger threatening some of his Brahman subjects from the demon Lavaṇa (i. 50). The voice recalls him to his kingly duty. He resolves to send his brother Śatrughna against the demon (i. 50¹ ᶠ.). With the prayer¹ (i. 50³ ᶠ.), ‘O holy Earth, watch over thy daughter Sītā’, Rāma leaves her and exit. Sītā wakes and finds herself alone (i. 51³). Enters Durmukha (i. 51⁹) and tells her that Lakshmaṇa has the carriage in readiness for her. She rises (i. 51¹¹) to go—as she supposes—with Rāma to the Ganges. Exeunt all. ACT II. DAṆḌAKĀ REVISITED TRANSLATION, PAGES 31–40. Between Act i and Act ii is an interval of twelve years. Scene 1, Interlude (ii. 0¹—ii. 9²). The forest of Daṇḍakā. Vāsantī, the sylvan deity of Daṇḍakā, welcomes, from behind the curtain, Ātreyī, who enters in the habit of a traveller. Vāsantī herself follows (ii. 0⁴). They exchange compliments and fall into a conversation, in the course of which Ātreyī explains why, although studying at Vālmīki’s, she is compelled to travel southwards in search of instruction (ii. 3): because

1. she could not keep pace (ii. 4) with Kuśa and Lava, twins of unknown lineage, of whom Vālmīki is both teacher and foster-father (ii. 3¹³ ᶠᶠ.); and because 2. Vālmīki himself was recently much occupied with the composition of a new poem, the Rāmāyaṇa (ii. 5⁵ ᶠ.). Having rested (ii. 5¹⁰), Ātreyī rises to go, but the incidental mention (ii. 5¹¹) of some places associated with the life of Sītā in the Daṇḍakā arouses painful memories. Vāsantī, ignorant of the happenings in the distant Ayodhyā, makes anxious inquiries. Ātreyī tells her all, including the most recent act of Rāma—his starting out (ii. 8¹ ᶠ.) in search of a Śūdra ascetic, Śambūka, whose austerities² have caused the premature death of a Brahman’s son. As Śambūka is in the Daṇḍakā, Vāsantī ¹ A prayer which did not remain unheard : cp. iii. 2⁶, vii. 18⁹f. ² The law permitted only Brahmans to practise austerities. Śambūka’s doing so was therefore an offence which, if unpunished, might cause trouble in the kingdom.

7] Synoptic Analysis of the Play expresses hopes (ii. 8³ f.) of soon meeting Rāma there. It is midday (ii. 9); so they both retire. Scene 2 (ii. 9³—ii. 30¹). The forest of Daṇḍakā, particularly that portion of it called Janasthāna. Enters Rāma, in his aerial car¹ named Pushpaka, sword in hand, and makes a pass as if to kill some one behind the curtain (ii. 10¹). Enters a celestial being who explains that he is no other than Śambūka, the Śūdra ascetic of the Daṇḍakā, just killed by Rāma (ii. 11 and ff.). The mention and the actual sight of Daṇḍakā and Janasthāna arouse very painful memories in Rāma (ii. 17—ii. 18). Śambūka's eloquent description (ii. 19¹-21) of the forest scenery affects Rāma all the more, and Rāma consequently dismisses him (ii. 21¹). Śambūka, however, goes away to pay his respects to the sage Agastya, who lived near by, before mounting the car to heaven (ii. 21³). A pathetic soliloquy (ii. 22–28) by Rāma follows. It is interrupted by Śambūka who reappears with the word that Agastya's wife, Lopāmudrā, desires that Rāma will stop a while at her hermitage before returning to Ayodhyā (ii. 28¹ ff.). Rāma accepts the invitation and goes away followed by Śambūka, expressing, however, the intention of visiting the old familiar scenes once more (ii. 28⁶) before leaving for his kingdom. ACT III. THE SHADOW TRANSLATION, PAGES 41–59. The interest of this Act is mainly psychological. Act i saw the separation of Rāma and Sītā, and the motif of Acts ii–vii is their union, which, to be complete, must be both mental and physical.² Act iii achieves the former, and Acts iv–vii the latter. Accordingly, what seems here to be lacking in dramatic movement is more than made up by the richness and faithfulness of its psychology. Scene 1, Interlude (iii. 0¹—iii. 5²). That part of the Daṇḍakā called the Pañchavaṭī. Time: afternoon of the same day as Act ii. Enter two River-goddesses, meeting. The first, Muralā, is the bearer of a message from Lopāmudrā, who has asked (iii. 0⁴—iii. 2) the river Godāvarī to try, by means of cool scented breezes, to soothe and revive Rāma in

¹ It is not clear whether Rāma gets down from the Pushpaka before striking the blow. Probably he does. ² The same motif underlies Acts vi–vii of Kālidāsa's Śākuntala, but his treatment is somewhat different from that of our poet. Compare Introduction, sections 39 and 41.

Bhavabhūti — Uttara-Rāma-Charita [8 case the sight of Pañchavaṭī proved too much for his sorrowing heart. The second, Tamasā, relates (iii. 2⁴⁻⁸) that Queen Sītā, abandoned by Rāma in the forest, there gave birth to twin sons, whom her mother, the Earth, and the divine Ganges have placed in charge of Vālmīki; and that the holy Ganges, anticipating Rāma's present visit to Pañcha- vaṭī, has contrived to bring Sītā herself there (iii. 3¹⁻⁴); and that being, by the favour of the Ganges, rendered invisible (iii. 3¹³) to men (like Rāma) and sylvan deities (like Vāsantī), Sītā can now, in a case of need, revive Rāma by her touch.¹ Thereat Muralā goes to carry the news (iii. 3¹⁶) to Lopāmudrā, and Tamasā to bear company with Sītā. Scene 2 (iii. 5³—iii. 10²). Place and time, the same as before. Enters Sītā, gathering flowers and listening to the speech of Vāsantī behind the curtain. This speech refers to an attack by another elephant upon a young elephant once the pet of Sītā (iii. 6). Sītā, in great excitement, calls upon Rāma to protect her pet, but realizing her situation faints away (iii. 6⁴). Enters Tamasā to comfort her. Sītā is in fact comforted by the sound of Rāma's voice behind the curtain (iii. 6⁹ ff.). Tamasā explains that Rāma was then in Pañchavaṭī on state business (iii. 7⁴). 'How fortunate', observes Sītā (iii. 7⁶), 'that the King is so very assiduous in the discharge of his kingly duties!' Greatly overcome by grief, Rāma, still behind the curtain, calls out Sītā's name and faints (iii. 9⁵). This affects Sītā deeply, and on Tamasā's asking her (iii. 10) to do so, she hurries to where Rāma was (iii. 10¹). Scene 3 (iii. 10³—iii. 15¹⁹). Place and time as before. Enters ² Rāma, at Sītā's touch reviving from his swoon. Sītā, afraid lest Rāma might blame her for presenting herself unbidden before him, suggests to Tamasā that they withdraw. The latter reminds her that she is invisible to Rāma ³ (iii. 12¹¹). Enters Vāsantī (iii. 15⁴) to announce the fight of the elephants, whereupon the whole party—including Sītā and Tamasā—proceed to where the fight was going on (iii. 15¹⁹).

¹ The mysterious power of the beloved one's touch is the constant theme of our poet. Cp. i. 18, 34, 35, 38; iii. 10–12, 14, 39⁹, 40, 41, 42; iv. 21¹¹; vi. 4⁴ ff., 8, 13, 22; vii. 18. ² In the absence of curtains which could be raised up or pulled sideways, it would seem that Rāma had to enter the stage walking, and then assume the necessary position. Sītā comes in shortly after, while Tamasā, whose exit is not indicated at the end of the last scene, watches, along with the spectators, the whole course of events. ³ This may appear dramatically improbable, but so is the statue-scene in The Winter's Tale (Act v, sc. iii). Each, however, has the same purpose to serve, and it is unfair to question a poet's premises. Invisibility was regarded in India as one of the inci- dental attainments due to the practice of Yoga (cp. Yoga-sūtra, iii. 21), and is constantly employed as a dramatic de- vice: cp. Śākuntala vi, Vikramorvaśīya iii, Bhāsa's Avimāraka iii, &c.

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.