उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

—VI 40] UTTARARĀMACHARITA. 179 be torn to pieces But that has not occurred, as I have such an adamantine heart that I am capable of doing anything (enduring even such a harrowing spectacle). Verse 41 अनु- भाव मात्रानुमेयाय तस्मिन् मानवविभव श्री दर्श whose (former) beauty remains only in his majestic mien This means that on account of his sorrow for twelve years, Rāma had lost all his hand- someness. महसैव—they saw Rāma much changed after twelve years and the contrast struck them most. प्रथम प्रमूर् जनके व्यव- स्थितेनापि after restoring to consciousness Janaka who fainted first. विदुरा being helpless distressed. जनक fainted first be- cause the sad face of राम brought home to him how Rāma did not deserve the resentful words he had uttered a short time before (ca कोपस्य यत्पितु यदित्थनकृतं गतेन वा). The reading अनुकम्पिना is not so good as समवस्थितेन. V. reads प्रथमप्रबुद्धजनकव्यवस्थितेन— which शू० explains as 'प्रथमप्रबुद्धेन वीकेनोपस्थिता पूर्वं दण्डप्रनिपातन- रूपेण प्रसादिता चान्तेति यावत्'. But this is not good, as it seems difficult to believe that जनक recognized Rāma sooner than his own mother. Verse 42—Vide I. 51 for the first half पदसमवदानि let me first go and pay my respects. कुमारयोः प्रत्यभिज्ञानं यस्मिन्. This is a significant name given to this Act. In this Act several circumstances present themselves upon Rāma's notice making him almost believe that Kuśa and Lava were his sons. But it is to be noted that the recognition is not yet complete. It is in the 7th Act that it will be complete, when वाल्मीकि will hand over the boys to Rāma as his. This Act and the 7th deserve to be compared with the 7th Act of the शाकुन्तल. Act VII. The scene of this Act as that of the last three is laid in the neighbourhood of the hermitage of Vālmīki. The events narrated in this Act occurred immediately after those in the 6th. The poet resorts to the device of presenting a drama within a drama. The poet makes us believe that a drama written by Vālmīki himself was performed before Rāma in the presence of the citizens of Ayodhyā and the denizens of the three worlds. This device is resorted to for the purpose of convincing the subjects of Sītā's chastity and of the wantonness of the scandal spread among them about Sītā. The Act closes with the happy reunion of Rāma, Sītā and the two sons, Kuśa and Lava.