उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

82 NOTES ON [III. 3- मनीषिणाम्। आसीन्महीक्षितामाद्यः प्रणवश्छन्दसामिव ॥' रघु० I 11. Notice the alliteration in प्रसवितारं सवितारम्. अपहत पाप्मा येन-who destroys sin. In the छान्दोग्योपनिषद् I. 6. 6-7 we read 'अथ य एषोऽन्तरादित्ये हिरण्मयः पुरुषो दृश्यते... तस्य यथा कप्यासं पुण्डरीकमेवमक्षिणी तस्योदिति नाम, स एष सर्वेभ्यः पाप्मभ्य उदितः, उदेति ह वै सर्वेभ्यः पाप्मभ्यो य एवं वेद'. स्वहस्ताभ्या अवचितैः gathered with your own hands. उपतिष्ठस्व worship. For the आत्मनेपद, see notes p. 8. अवनि चारिणीम् wandering about on the surface of the earth. आह्लाविता-supply भागीरथ्या. प्रकृष्टं प्रेम यस्याः सा प्रकृष्टप्रेमा. त्वयि जानकी-सीता (our) daughter-in-law has the greatest affection for you. प्रत्यनन्तराभव be in attendance upon her, be close to her. This is a च्वि formation, according to 'कृभ्वस्तियोगे सम्पद्यकर्त्तरि च्वि' पा. 5. 4. 50 (अप्रत्यनन्तरं प्रत्यनन्तरं भवति or सम्पद्यते इति प्रत्यनन्तरीभवति). यथादिष्टम् as ordered (आदिष्टमनतिक्रम्य, अव्ययीभाव). गोदावरीह्रदात् from the pool of the गोदावरी. इव goes with जानकी in verse 4. Verse 4. ०सुन्दर qualifies आननम्, which is the object of दधती. दरि आननम् having a face beautiful with the cheeks that are pale and languid, with her hair dangling about. परिपाण्डु दुर्बलौ च कपोलौ ताभ्यां सुन्दरम्. विलोला कचरी (केशपाशः) यस्मिन्. सीता had not braided her hair on account of her grief due to being abandoned by her husband. For the affix क, see notes p. 6 on असङ्गतानन्दनादीक. दधती pre. participle f. of धा. करुण जानकी -सीता comes to the forest as if she were the image of pathos or as if she were the pang of separation incarnate. इव occurring after ०व्यथा is be connected with मूर्ति also. The figure is उत्प्रेक्षा. The reading in the text is better. If we read विरहव्यथेव the figure will be रूपक. But this is not good. In रूपक we gener- ally identify one existing thing with another existing thing on account of their great resemblance as in मुखं चन्द्रः. But as शरीरिणी विरहव्यथा is itself a fiction and not a fact, it is better to read व्यथेव in order that the figure may be उत्प्रेक्षा. If we read मूर्त्तिरिव वा, we require another वा after व्यथेव. इयं हि सा-connect these words with the first line of the next verse. Verse 5. इयं हि सा विमल लूनम् Here is she (सीता) like a pretty sprout cut off from its stem. This is a better way of construing the verse. We may also regard the first line as in apposition with शरीरम् in the third line. In that case the meaning is 'her body that is pretty like a sprout &c.' In this case there is the fault of दूरान्वय as the 2nd line intervenes. विम्लान past p. p. of म्लै with वि and प्र. हृदय कुसुमम् the fierce and long continued sorrow that withers the flower of her heart causes her pale and weak body to waste away just as the autumnal heat

-III. 5] UTTARARÂMACHARITA. 83 (withers) the inner leaf of the केतकी हृदयमेव कुसुमं तत् शोषयति इति शोषिन् श्पयति causal of श्लै. श्माम adj. (from क्षै) wasted शरदि is an अनुक् समास 'प्रावृट्शरत्कालदिवा ने' वा 6 3 15 (प्रावृषि । शरदि । निशौ ) घर्मे heat केतक्याः गर्भपत्रम् The word गर्भ shows the extreme softness and paleness of the leaf शुद्धविष्कम्भ —for the meaning of विष्कम्भ see notes p 64 As both the characters are river deities and so are not low ones, it is शुद्ध प्रमादः a calamity (has happened) P. 54 पुष्पाणां अवचये व्यग्रा engaged in gathering flowers व्याहरति—speaks Verse 6. सीता भूयः that young one of an elephant that was formerly fed by queen सीता with the tips of सल्लकी leaves gathered by her own hands and that used to prance before her (being eager to be fed) 'कलभः करिशावकः' इत्यमरः मदेन युक्तः that (young one of an elephant) has been attacked through pride by another fierce lord of elephants, after falling upon him उद्दाम fierce, unbridled. (दीर्घे रम्ये चोद्दामं गन्धे च द्विरदः श्रेष्ठः पतिः तेन अभिषद्य after having fallen upon अभियुक्तः engaged in a fight आर्यपुत्र परित्रायस्व —In the sudden excitement due to hearing of the attack on her favourite elephant, सीता utters the words which she was in the habit of uttering, forgetting the fact that she was no longer near राम being abandoned by him. स्मृतिमभिनाय represen- ting that she recollects (her real situation) सवैक्लव्यम् (वैक्लव्येन सह यथा स्यात् तथा) with overwhelming sorrow विह्वलस्य भावः वैक्लव्यम्- 'विह्वलो विह्वलः स्यात्' इत्यमरः. अनुबध्नन्ति follow, stick तमसा—It should be remembered that तमसा was asked by भागीरथी to be in close attendance on सीता विमानराज—this is addressed by राम to पुष्पक. We know from the end of the 2nd Act that राम intended to come to पञ्चवटी after waiting upon अगस्त्य P 55 साध्वसम् agitation, fear उल्लासम् joy She was afraid of meeting राम who had abandoned her She was glad to hear his voice after so many long and weary years कुतः...निर्घोषः Whence comes this noisy speech which is deep and loud like the slow thunder of a cloud that is full of the weight of water ? जलस्य भरेण भरितो मेघः तस्य मन्थरः निनदः तद्वद् गम्भीरः मांसलः च मांसल full of flesh i. e loud भारती speech निर्घोष loud noise क्रियमाणः कर्णविवरः यस्याः the cavities of whose ears are filled (by the loud voice) उत्सुकयति makes me uneasy उत्सुकयति is a denominative verb from उत्सुक. The reading उल्लासयति means 'revives.' Verse 7. अयि स्निग्धा why do you thus stand startled and anxious at an inarticulate sound coming from some unknown spot like a peahen (at the

roaring) of a cloud ? अपरिस्फुट not distinct निस्वान sound कुतस्त्य (from कुतस् + affix त्य on the analogy of दाक्षिणात्य, पाश्चात्त्य &c ) coming from what region (one does not know) स्तनयित्नो gen: sing of स्तनयित्नु (a cloud) Supply निम्नाने after स्तनयित्नो Some editions read किमप्यदस्तेऽपि निनादे This seems to be an emendation purposely made As the verse stands there is no word to show that a question was intended So किम् is put in In order to supply an independent word after स्तनयित्नो the compound was separated into अभ्यस्ते निनादे But the reading in the text is preferable The following speech of सीता shows that the word अपरिफुट must have occurred in this verse N and K read निक्वाण which means the same thing as निस्वान स्वर सङ्घातम् from the combination of the accents I recognize that this was uttered by my lord himself तपस्यत (qualifies शूद्रस्य ) gen: sing of the present p of तपस्यति which is a deno- minative verb from तपस् 'तपस परस्मैपद च' वार्तिक on पा 3 1 15 (तपश्चरति तपस्यति ) दण्डधारणार्थम् in order to award punishment ऐक्ष्वाको राजा the king descended from इक्ष्वाकु, who was the son of मनु वैवस्वत As she resented राम's treatment of सीता she uses the words ऐक्ष्वाको राजा, with an emphasis on the word राजा, meaning that he is a mere king and not a loving husband दिष्ट्या स राजा it is fortunate that the king does not neglect his duties as a king अपरिहीन (not waned) राजधर्म यस्य सीता rejoices that राम scrupulously observes all the duties of a king even though labouring under the grief of separation from her and thereby impliedly defends him against the insinuation made by तमसा in her speech Verse 8 यत्र and यानि are to be connected with तटानि यत्र मे where even the trees and the deer were my relatives (or friends) प्रिया सहचर यस्य whose companion was his wife : e in the company of my beloved अध्यवात्सम् Aorist of वस् with अधि यानि अध्यवात्सम्--वस् when pre- ceded by उप अनु अधि and आ takes the accusative (and not the loc as वस् by itself does ) 'उपान्वध्याङ् वस' पा० 1 4 48 बहव निर्झरा कन्दरा च येषु in which there are many streams and caverns गोदावरी परिसरे वम्-in the vicinity of which is गोदावरी तटानि slopes Understand भवन्ति after आकारेण, according to 'इत्थंभूत- लक्षणे' पा 2 3 21 (इत्थंप्रकारं प्राप्तस्य लक्षणे तृतीया स्यात् । तद्यथागिजम् । सि कौ) प्रभूत आकारेण (endowed) with a form that is weak, emaciated and pale like the orb of the moon at daybreak निज - ज्ञातव्य to be recognized only by the gentle and serene majesty peculiar to him. निज सौम्य गाम्भीर्य्य (अनुभाव एव ०अनुभावमात्र

—III. 8] UTTARARĀMACHARITA. 85 ॰तेन प्रवृत्तितस्तस्य पञ्चवटीदर्शनेन (at the sight of प०) is to be connected with the following verse. Verse 9 अन्तर्लीनस्य and ज्वलिव्यतः qualify दुःखाग्नेः अन्तः मान् stupor, as if it were a volume of smoke of the fire of sorrow that had been concealed (smouldering) in the heart (so long) but that is about to burn briskly to-day, envelopes me at first. दुःसमेव अद्य दृढाम adv. fiercely. ज्वलिष्यतः gen. sing. of the future participle of ज्वल्. उट्ठीट mass, compare further on 'पूरोत्पीडे तटाकस्य' The idea is:— When we try to ignite some faggots there is at first a volume of smoke which envelopes us, and then flares up the flame which lies concealed in the faggots. राम's sorrow had been restrained for twelve years and had been manifest to nobody. But at the sight of पञ्चवटी, his sorrow burst forth in all its force and vivid- ness. Just as a volume of smoke precedes the bright flame, so the sorrow brings on stupor in the case of राम before it begins to burn fiercely. इदं जनेन it is this that was feared by the elders. The reference is to what लोपामुद्रा and भागीरथी are reported to have said on pp. 51-52 of the text. वचनेन तु—सीता refers to राम's words 'प्रिये जानकि'. She thought that on account of the scandal among the people and her long absence, she could no longer be to Rāma what these words plainly indicated that she was. P. 57. मां व्याहृत्य uttering my name who am unfortunate. आमी० दृश् whose eyes resembling the blue lotus have closed. आ ईषद् मीलद् नेत्रमेव नीलोत्पलं यस्य. निरुद्ध सहन्—निरुद्धं निःश्वासं येन नि षद् यथा स्यात् तथा— (अव्ययीभाव) in an unbearable way (or con- dition) on account of the fact that his respiration is checked. As राम fainted, he had difficulty in breathing and that made matters worse. विपर्यस्त has been tossed about. There are vari- ous readings here. G. reads निरुद्धनिःसहनिश्वास (whose respira- tion, that was hard, was checked). Some read निरुत्साहनिःसह (spiritless and helpless). Verse 10 वत्सरस्मिन्—रामम्. प्रियस्त्व ते the touch of your hand is agreeable. हि means 'because'. अयमे जन this person (i.e. राम) is extremely fond of it (of the hand). The latter half of the verse contains the reason why it was सीता alone who could restore राम's consciousness. प्रियस्पर्शो यस्य. The fourth पाद contains a bewildering variety of readings and it is impossible to fix upon the original words of the author. We shall notice a few of the readings. G. reads स्पर्श for वपु, which makes no change in meaning. Ch. reads 'नियमो मयि', which means 'on which is fixed the responsibility' (of restoring राम to 8

86 NOTES ON [ III 10– consciousness) This idea is good but we have to stretch the words a little to bring out the sense required V reads ‘नियतो भव’ which is interpreted to mean ‘on it alone is fixed (i e depends) the being (here revival of Rāma)’ Some read तदैव निरतो भव (Rāma's life is extremely fond of that alone) An other reading is यत्रैव नियतो भव ‘be fixed (i e dependent) upon that alone i e depend upon the touch of your hand as the only remedy to restore राम to consciousness This is a fairly good reading यत्रैव or तत्रैव निरतो भव has to be interpreted in the same way as the reading in the text अश्रेण सह साश्रा तया shed ding tears साह्लाद (आह्लादेन सह) उच्छ्वास यस्य who breathes again joyously जाने त्रैलोक्यस्य I feel as if the life of the three worlds has come back again To सीता, राम was all in all the whole world To her all the worlds without राम in them were a void So on seeing राम restored to consciousness she thought as if the world was emerging into life. Some explain that सीता identified राम and त्रैलोक्य because the latter depended upon him. वीर० says ‘प्रजानामपि शोरानां राममयजीवितत्वाद् रामजीवने तज्जीवनमिति भाव । तदुक्तम्— रामो रामो राम इति प्रजानामभवन्कथा । रामभूतं जगदभूद्रामे राज्यं प्रशासति ॥’ इति She gives expression to a similar idea on p 74 of the text in the words ‘सकलजीवलोकबहुलप्रह्लादस्य’ Verse 11 The touch of सीताs hand was so cool and so much delighted राम that he not knowing the cause of his feelings puts forward various hypotheses as to what it was that made him so joyful आद्यो सेक Is it the extract of the leaves of हरिचन्दन or is it the sprinkling of the water issuing out of the sprout like lunar rays when squeezed ? हरिचन्दन is either one of the five trees of paradise or a very fragrant kind of sandal called गोशीर्ष ‘पञ्चैते देवतरवो मन्दार पारि जातक । सन्तान कल्पवृक्षश्च पुंसि वा हरिचन्दनम् ॥’ इत्यमर, ‘तैलपर्णिकगोशीर्षे हरिचन्दनमस्त्रियाम्’ इत्यमर निष्पीडिता इन्दुकरा (चन्द्रकिरणा ) एव कन्दला स्तेभ्य जायते इति कन्दल इन्दु a tender shoot or sprout तु shows doubt ‘तु पृथग्भावा वितर्के च इत्यमर आत्त सिक्त or is it the juice of the plant that brings back life poured on my heart, which (juice) again gladdens my worried life ? अश्रुत च तद् जीवितं च तस्य पुन परितर्पण (पुन परितर्पयतीति) पुन परितर्पण—the aff'x अन is here सज्ञायाम् vide notes p 27 on नीहारसृष्टिरपरा Some editions read ०जीविततरो परितर्पणोऽयं—which means which gladdens (invigorates) the tree in the form of the heated life (worried life of राम)’ This is not a happy reading P 58 Verse 12 राम स एव surely it is the same touch

-III. 12 ] UTTARARĀMACHARITA 87 that was formerly familiar to me सञ्जीव...तोषाय that restores to life and gladdens the mind If we read परिमोहनश्च (that brings on a stupor), there is an apparent विरोध This is however not a good reading as the same idea is elaborated in the following half of the verse In सञ्जीवन and परितोषण the affix अन् is कर्तृवाचक while in आनन्दन below it is भाववाचक च तनोति which, having at once removed (my) unconsciousness that was due to excessive grief, brings on dulness (stupor) again by its gladdening effect राम had at first fainted through excessive sorrow When सीता touched him he was restored to consciousness, but her agree- able touch after so many years so transported him that he was on the verge of experiencing (another kind of) stupor (due to extreme joy) आनन्दन = आनन्द एताव तरम् at this time, even this is a great deal to me. She means that being abandoned by राम, she had no chance of seeing him or being of use to him. Therefore the fact that she was able to restore राम to consciousness is a great privilege enjoyed by her and she thinks that she must be satisfied with it. न खलु प्रसोदसि Indeed am I not favoured by the affectionate queen Sita? He puts a question to himself as to whether it is not possible that सीता may have come and touched him. मार्गिष्यते will search अथ कोपिष्यति the king will get angry with me on account of my approaching him without his permission. Notice the word राजा सीता suggests that the king in राम may get the better of the husband and so on seeing her he may sternly rebuke her instead of welcoming her, on account of his high ideals of kingly duties हुन्-'हुन् वितर्के परिमले' इत्यमर असदृश वृत्तान्तस्य this is not in keeping with all this that has taken place She means — If she was so very dear to राम, as his words (प्रिये जानकि) even after the lapse of twelve years indicate he should not have abandoned her वज्रमयी made of adamant; i. e as hard (of heart) as adamant जन्मा...दर्शनस्य whose sight is difficult to obtain and is impossible even in other lives. असंभावित दुर्लभ दर्शन यस्य She means —The sight of such a noble person as राम is in itself very rare It would be impossible for her to see राम again in future lives because both of them may go to different births in accord- ance with their respective कर्मन्. Some read दर्शनाम्, which goes with माम् This is bad सीता was not then in a mood to think too highly of herself The reading जन्मान्तरे संभावित० yields no sense G seems to have read पुन संभावितसुलभलब्धदर्शनस्य which means 'whose sight is as much easily possible in other lives as

88 NOTES ON [ III, 12- that of the tongue of a balance' मा एव वत्सलस्य who entertains affection for me only who am unfortunate. एवम्वादिन् —She refers to राम's words 'प्रिये जानकि' निरनुक्रोश cruel, without pity 'कृपा दयाऽनुकम्पा स्यादनुक्रोशोऽपि' इत्यमर मद एव She means—however outwardly cruel राम's treatment of her may seem to be, she knows 'that his love for her is deep and that he has really not the least doubt about her Note her words 'तस्मै कोपिष्यामि यदि न प्रेक्षुमाणात्मन प्रभविव्यामि' (after I 51) and VI 32 below सनिर्वेदम् with dejection कीदृशी वत्स्या what is the condition of my heart? She asks तमसा whether she can understand the condition of her heart which is tossed by contending emotions. Some editions read 'कीदृश इव मे हृदयस्यानुरूप इति न जानामि'— I do not know what the state of my heart is तमसा replies that she knows the state of her heart Verse 13 तटस्थं, कलुषं &c. qualify हृदय. हृत्स्य स्तम्भितमिव Indifferent (cold) on account of despair, angry in consequence of the offence (राम committed, viz. of abandon ing her), it is as if paralysed on account of the sudden meet ing after this long separation कलुष turbid, therefore 'angry' सीता despaired of being restored to her former position and so her heart was cold towards राम राम had done her injustice by banishing her without any cause under a pretext and therefore she was full of resentment On account of her suddenly meeting- राम, her heart was paralysed and did not know what to do. Some read घट्नोत्तम्भितमिव which may mean 'supported by the sudden meeting' प्रसन्न इव pleased on account of his goodness, deeply touched by the lamentations of your beloved (राम), your heart has at this moment as if melted with affection. दयितस्य (रामस्य) करुणै (स्वरपातादै ) गाढं करण (शोक ) यस्मिन् Construe इव with द्रवीभूतम् Verse 14 स्नेहेन आईश्वामी शीतलश्च cool and influenced (lit melting) by love नन्दिनी—is here used in its etymological sense 'a woman that causes delight Its usual meaning 'daughter' is inappropriate here All the editions read नन्दिनि; but following G we read नन्दिनी, which is better Sita, being already addressed as देवि, there is no necessity of using another vocative. एते हाला Indeed these words of my lord are full of nectar (i e. cause delight) which shower delight and which exhibit the deep affection of his heart (for me). The com pound अगाध सम्भारा cannot be easily dissolved We rather expect दर्शितगावाधमानतस्नेह•. अगाध' मानसे दर्शित स्नेहसम्भार येषु सम्भार heap, fulness. आनन्द निस्यन्दरे इति G reads ०'सुम्भरा' for ०सम्भारा.

-III. 14 ] UTTARARĀMACHARITA 89 The meaning will be 'these words that spring from the deep affection &' येषां प्रत्ययेन on account of the conviction (faith) produced by which निष्कारणेन परित्यागेन शल्यं, तदस्य सञ्जातमिति शल्यितः निजा नाम my life is highly esteemed by me though there is the dart of causeless abandonment सीता means-The fact that I was abandoned by my husband without any fault causes heart-rending grief to me Though this is so and though my life has thus been embittered, yet I look upon myself as blessed, since these words of my husband lead me to believe that his love for me is as intense as ever G reads 'श्वसितं' which is not happy The meaning seems to be 'my life is thought of more highly than the dart i.e शल्यित is formed from शल्य with the affix इत according to 'तदस्य सञ्जातं तारकादिभ्य इतच्' पा 5 2 36 P. 61. सङ्कल्पस्य अभ्यासः ( repetition )तस्मिन् पाटवं (कौशलं) उपादानं (कारणं) यस्य which is caused by my cleverness is repeating (the same) vision. सङ्कल्पः Imagination. राम means that by constantly brooding over the image of Sītā in his heart he is led into thinking that she is bodily present G seems to have read 'सङ्कल्पाभ्यासपाटवोपादान' ( सङ्कल्पेन यः अभ्यासः presenting in ima- gination ) V reads ०पाटोत्पाद which is to be dissolved as पाट्पाद् उत्पादः (उत्पत्तिः ) यस्य पटोर्भावः पाटवम् Compare 'युष्मदाशीरुपादान -एष महिमा'( text p 42) 'महत्पुण्यपरिपकोपादान एष महिमा' महावीर० IV. रघुनन्दस्य-This is ironically used. It conveys that Rāma is wretched (instead of being blessed as the word भद्र would natur- ally suggest ) कः ..योक्ष्यते 'who will now attack (the elephant) ' or 'who will now be appointed' In the first case अभियोक्ष्यते is active, in the second passive पुत्रकम्-the affix क is applied to show compassion. 'अनुकम्पायाम्' पा. 5. 3 76. ( पुत्रकः। अनुकम्पितः पुत्र इत्यर्थः। सि कौ ). अभिपतति-attacks, overpowers. रघुनन्दन-This seems to be sarcastic वासन्ती implies that राम does not deserve to be called रघुनन्दन, as his ancestors in heaven must have been greatly displeased with him for abandoning सीता. The word is either जटायु or जटायुस् ०शिखरस्य दक्षिणेन to the south of the peak called जटायु. For the genitive with दक्षिणेन see notes p 80 on मुन्य लागावरेण. सीतातीर्थेन by the flight of steps called सीता. तीर्थम्- (Marathi घाट) flight of steps leading to a river. 'तीर्थे शास्त्राध्वर- क्षेत्रोपायनारिज्मु च। अवतारर्षिजुष्टाम्भःपात्रोपायनषिषु' इति मेदिनी. बदर 'अवहेलयतुने मेद्रे' इत्यमरः Note that वासन्ती purposely uses the word सीतातीर्थ and refers to जटायु who sacrificed his life for सीता. हृदय .. द्यन्तः these allusions to the story (of my

50 NOTES ON [III 14- life) verily pierce the vitals of my heart. G seems to have read हृदयमनाविध्य which means the same thing as -विध्य हृदयमनु + विध्यति इति ०मनुविद्य (affix किप्) मनु is lengthened before विध्य according to 'नहिवृषिवृचिराजिव्यधिरुचिसहितनिषु कौ' पा ६ ३ ११६. (विध्यत्युषु पूर्वस्य पूर्वपदस्य दीर्घः । प्रतानम् । प्रामूचः । समाविद्येत् । सि कौ) Com- pare महावीर० V 'हृदयमनु विध मर्मणी कपेदात् शमाय वल्गन मन्मथः. P 62 We expect मातृचरण after शैशवाभ्य रस्तो संवृत्तः he has become so (big) दिष्ट्या वृध्-means 'to congratulate a per- son upon राम has the image of सीता before his mental view and addresses her- Verse 15 येन goes with सोऽय पुत्रः यत्पुण्ड- रीकदलाग्रवद् किञ्चिद्दन्तुर दन्त or पल्लवाङ्कुरच्छिवद्दन्तर दन्त-whose tender (sproutlike) tusk was just appearing and was glossy like the tender leaf of a lotus. सुतनु is addressed to सीता (who in the opinion of राम was dead) कर्णपूरम्-this is a better reading than कर्णपूरात् Part of the कर्णपूर reached down below her ear and was snatched by the elephant. कर्णपूर is an ear-ornament. मदच्छिन्नः the conqueror of elephants giving out rut. बाल्यात् नातः has become the receptacle of what is aus- picious in youth i. e he is possessed of strength, valour and charm अवियुक्तः not separated Mark that the blessing Sita pronounces comes quite appropriately from her She has had the bitter experience of what separation means and the thought of separation being uppermost in her mind, she wishes that her pet should never have to undergo similar torments. कान्तायाः अनुवृत्तिः तस्मिन् चातुर्यम् the skill of pleasing his beloved (i. e gal- lantry) शिक्षितम् learnt. P 63. Verse 16 यद् in the fourth line means 'since' and is to be connected with all the clauses. This verse mentions the acts whereby the elephant showed that he was a gallant. रातो कान्तम् (since) he has effected the giving of water scented with the expanding lotus in the intervals of the morsels of lotus-stalks plucked out with ease. लीलया उद्घातानि मृणालखण्डानि तेषां कवलम् तेषां छेद्रेषु (सन्धिषु). The elephant plucked out lotus stalks and gave them to his mate for eating When she finished one morsel he poured from his trunk water in her mouth before she took up another morsel पुष्करं पुष्कर (पद्म) तेन वासितस्य or पुष्करं पुष्करं करिहस्ताग्रं तस्मिन् वासितम् scented in the fat tip of the elephant's trunk. गण्डूषः a mouthful On this राघव- remarks 'स्वयं पीत्वा जलदानं प्रतिपादम्' संक्रान्तिः transference, giving

-III. 16 ] UTTARARÂMACHARITA. 91 संपादिता for सपादिता would mean 'were thrown.' सेकं कामम् he caused a bath (of water) to her heart's content with his trunk that dropped a spray कामम् is used as an adverb here जगद्धर in the मालतीमाधव takes it in the sense of 'युक्तम्' (proper) विरामे धृतम् since when it (bath) was stopped, he held (over her) through affection as an umbrella the leaf of a lotus plant with a straight stem अनराल (अवक्र) नालं यस्य तत् नलिनीपत्रमेव आतपत्रम् (छत्रम्) विराम cessation. The elephant held the leaf over the mate in order to ward off the heat This verse occurs in the मालतीमाधव IX. 34 where instead of यत् we have न. In one way this is a better reading The young elephant had not become an adept so he forgot to hold the lotus leaf as an umbrella. निसह unbearable भवितव्यता fate किं सुतया what is the use of my giving birth to children ? येन since तादृशमपि even of that sort (i. e. so charming &c.) ईषद्विरलकोमला परराश दशना वै उज्ज्वलो कपोलो यस्य the cheeks of which are brightened by the white, delicate and slightly sparso teeth. अनुबद्धे मुग्धे काकली विलसिते यस्मिन् on which there is constantly a charming smile and lisping, काकली-sweet but indistinct sound, अनुबद्ध constantly attached निबद्ध काकपक्षखण्डक (काकपच) यस्मिन् which has a well trimmed lock of hair The word कण्ड seems superfluous. शिखण्डक itself is called काकपक्ष 'काकपक्ष शिखण्डक' ('इलियागा जून 'काकपक्ष इति गौट' क्षीरस्वामी) अमले मुख एव पुण्डरीकयुगलम् She had two sons, therefore the word पुण्डरीकयुगलम् P 64 अस्तु-understand चुम्बितम् from the preceding speech after it उच्छू -राणी whose breast is heaving and has begun to ooze milk (on account of remembering my children ) तृणमात्र -स्पृष्टा-सीता, being abandoned by her husband, could not aspire to be a संसारिणा (a woman with a family) किमवोच्यते what need be said on this point this needs no mention. प्रकृष्ट -भेदस्य A child is the highest limit of affection. प्रकृष्ट excess. पर्यन्त limit, border This means that there cannot be affection greater than that which one feels for ones child. पर... पित्रो this is the highest tie for binding together the parents Verse 17 This is one of the master pieces of भवभूति Con strue संहृत्तभवाद् दम्पत्यो अन्त करणतत्वस्य अपत्यमिति एक आनन्दग्रन्थि क यते -on account of being the resting place of the affection ( of the parents ), a child is the one (unparalleled) knot of joy tying the principles of the hearts of the husband and the wife The affection of both husband and wife is centred in the child.

92 NOTES ON [ III 17- It is the knot wherein are imperceptibly tied together the two hearts of husband and wife just as two threads are tied together in one knot. The child is the source of joy to the parents and hence called आनन्दग्रन्थि. G separates as ग्रन्थि and रेक, instead of ग्रन्थिरेक. The explanation of G is bad and brings the high and pure sentiment breathed in this verse to a low sensual level. Verse 18. ते प्रिया—This refers to सीता. अनुदिवसम् (दिवसे दिवसे इति अव्ययीभाव) day by day. यम् is the object of अवर्धयत्, the antecedent being स- एष शिखण्डी in the 4th line. अचिर-निर्गत-मुग्ध (मनोहर)-शिख (धवल) बर्ह यस्य—whose tail that had recently come out was charming and waving. बर्हम् the peacock's tail 'पिच्छबर्हे नपुंसके' इत्यमरः उत्क्षिप्त (उन्नता शिखा यस्य) whose crest is upraised. मणिमुकुट इव like a crown of jewels. कदम्बे on the कदम्ब tree. नदति screams, gives out notes. वध्वा सखा वधूसखः—तत्पुरुष. सखि becomes सख at the end of a तत्पुरुष according to 'राजाहःसखिभ्यष्टच्' पा० ५. ४. ९१ (एतदन्तात्तत्पुरुषाट्टच् स्यात् । कृष्णसखः । सि. कौ.) वधूसखः in the company of his mate (lit. the companion of his wife). The peacock's tail presents various sparkling colours; besides, the peacock's body is large but its neck is long and thin. Hence the peacock with its brilliant tail is represented as the crown inlaid with jewels placed on the कदम्ब tree. A crown is wide at the bottom and goes on tapering upwards. V and Gh read the first half differently. But the reading in the text is preferable. वासन्ती wants to point out the objects with which सीता was specially connected. With the reading in the text we know at once that the peacock was fed by सीता. The reading of V and Gh brings before us the peacock abruptly and the words of सीता (कथं एष स) that follow the verse cannot be properly connected with it. अनरण- स्मेरबर्ह this (peacock) whose tail freshly come out is charm- ing and waving at the end of the festivity of dance due to its excessive joy. न विघटते तरङ्गः यस्मात् सः अनरणः मन् तेन सान्द्रः तस्य उत्सवः तस्य अन्ते तैषु. एष स this is the same (peacock that I fed). P. 65. मोदस्व rejoice. राम calls upon the peacock to go on joyfully as the latter is in the company of its mate, while राम himself is deprived of सीता. एव भवतु—सीता also approves that her pet should be happy though she herself is in grief. Verse 19. Supply त्वाम् before मण्डयन्त्या. मण्डयन्त्या and मुग्धया qualify 'सीतया' (understood). भ्रूभिक्षु मण्डयन्त्या (by her) who adorned you with the dance of her moving and beautiful eyebrows.

—III. 19 ] UTTARARĀMACHARITA. 93 and her eyes (the orbs of) which were made to whirl round inside the eyelids (sockets) during your (own) whirling movements (in dancing). वृत्ता पुटस्य अन्त मण्डलावृत्ति (मण्डलाकारा आवृत्ति ) याभ्यान् ते ॰वृत्ती, ॰वृत्ती च ते चक्षुषी च, प्रचलिते चटुले च भ्रुवौ तयो स्ताण्डवानि, ॰वृत्तिचक्षुषी च ॰ताण्डवानि च तै ॰ताण्डवै The idea is—The peacock in dancing whirled about round and round. The eyes of सीता followed intently the movements of the pea- cock. The pupils of her eyes moved round in trying to follow the whirling movements of the bird, similarly by the admiration for the movements of her pet her eyebrows also were made to move. In this case, we take वृत्त ताण्डव as one word. Both G and वीर० do the same. We must admit that the sense yield- ed is not very happy and that the construction is rather clumsy. V. and Gh. take ॰चक्षु as an object of मण्डयन्त्या. In this case the construction becomes easier and the reading yields a good sense. Taking the reading of V. the meaning is 'who adorned (her) eyes that revolved in a circle inside the sockets during your whirling movements by the dancing of her moving and beautiful eyebrows'. Here वृत्त वृत्ति is a separate word and an adjective of चक्षु, which is the object of मण्डयन्त्या. With the reading in the text, we have to say that सीता adorned the peacock, here we say that her eye (naturally charming enough) had its beauty heightened by the graceful movements of her eyebrows. Gh. reads वृत्तनेत्रु (as one word) which means the same thing as ॰वृत्ति चक्षु. वृत्त पुटस्यान्त मण्डलास्तन् (मण्डलावृत्ति ) येन. Here also ॰चक्षु is the object of मण्डयन्त्या. The principal reason why the reading in the text was retained is that the readings of V. and Gh. seem to be emendations purposely made to escape the difficulties of the original text. चटुल fine, agreeable. कर नर्त्यमान (त्वा) (you) who were made to dance by the graceful (सीता) with the clappings of her sprout-like hands. करौ किसलये इव तयो ताला तैः ताल keeping time (here by the clapping of the hands). 'तालः शब्दक्रियामानम्' इत्यमरः, 'तालः करतले ऽङ्गुष्ठमध्यमाभ्यां च सम्मिते । गीतकालक्रियामाने करस्फोटे द्रुमान्तरे' इति विश्वः. नत्यमान Present P. Pass. of the causal of नृत्. हन्त रप्यन्ते Oh ! even lower animals have regard for (former) familiarity. रप् with अनु—to act according to, follow, have regard for. राम suggests that even lower animals, who are not supposed to be endowed with reason, stick to objects with which they had once become familiar, while he, a human being endowed with the godly attribute of

94 NOTES ON [ III 19- reason abandoned सीता, not regarding his love for her Verse 20 कतिपदानां कुसुमानां उद्गम (उद्गय उत्पत्तिर्वां) यस्मिन् which has put forth only a few flowers प्रियतमया=सीतया स्मरति मेति this mountain peacock (surely) remembers the queen (सीता). since it feels delight on it as if in (the presence of) its own friend गिरिमिय मयूर गिरिमयूर a मध्यमपदलोपिसमास like शाकपार्थिव (वार्तिक on पा० 2 1. 60) स्मरति देव्या -Verbs having the sense of 'to remember', 'to pity' and 'to rule' govern the geni- tive of the object 'अधीगर्थदयेशां कर्मणि' पा 2 3 52 अत्र = अस्मिन् कदम्बे. The fourth line contains the reason of the assertion made in the 3rd line. As both the Kadamba and the peacock were tended by Sîtâ, the peacock was familiar with the tree It never left the tree and danced upon it with joy Hence राम infers that the peacock still remembered those distant days when it and the tree had both been the favourites of सीता आसनपरिग्रह accepting a seat. Verse 21 The principal sentence is ते शयनीयशिलातलं हरिणकैर्न विमुच्यन्ते स नीरन्ध्रा (निर्गतं रन्ध्रं याभ्य, निः

• रन्ध्र) बालकदल्प तासां दलं तस्य मध्ये वर्तते इति कान्ताया सख्या-कान्तासखः तस्य Compare वधूसख above नीरन्ध्रा . ते this slab of stone used as a bed by you in the company of your beloved, lying in the midst of a grove of thickly growing young plantain plants. अत्र=शिलातले दभ्य =हरिणेभ्य अत्र सीता since सीता sitting on this (stone) often gave grass to them ततो स therefore (the slab of stone) was not left off by the deer क is added to हरिण to show compassion. Vide notes on पुत्रक p 89 स्म, when placed after a verb in the present, imparts to it the sense of the past. 'लट् स्मे' पा 3 2 118 Most editions read एतत्तदेव कदलीवनमध्यवर्ति. This is a good reading and makes the construction of the verse easy With this reading the first two lines form an independ ent sentence and the last two lines form another co-ordinate sentence We have to supply तत् before विमुच्यते with that read ing With the reading in the text, the construction is rather involved. We believe, however, that the reading in the text is what the author wrote and hence have kept it For बहुशो यदेभ्य, N and G read वनगोचरेभ्य The meaning of this latter is not clear It seems to mean 'beasts of the forest' (वन गोचरः विषयो येषाम्) ते देशा these are those very spots (उद्देश) of the forests on the गोदावरी which witnessed our various ‹ › ते पादपा these are those very beasts, birds and trees that were as dear (to me) as children. जातेभ्यः निर्विशेषा. (निर्गतं विशेषं येषाम्

—III. 21] UTTARARÂMACHARITA. 95 (or देव्यः)—between whom and one's children there is no difference मम...संवृत्तं so unfortunate am I that, notwith- standing that I see all this, it is as it were non-existent (for me), such is the transformation that this mortal world has under gone (in my case) She means that being abandoned by her husband on account of a scandal, she cannot face her husband as well as the world and that therefore the world is as if non existent for her Formerly all these persons showered their affections upon her and the various objects gave her pleasure But now they cause her sorrow This is the vast change that has occurred in her relation with those objects and persons The reading परिवर्तो also means 'change' Verse 22. ददद् (quali- fies यः) is the present p. nom sing mas. of दा, its object being नयनोत्सवम् Construe यः नयनोत्सवं ददद् नवो नव इवा (आसीत्) स इति कथम् सुखैकल्य तथापि दृशो प्रियः नव स्तव (who) causing delight to (our) eyes by his limbs that were glossy (charming) like a fresh blue lotus. सतत यः who, thought he could always be seen by us at will, was ever new (on each occasion). She uses the word नः purposely Not only was राम a feast to the eyes of सीता, but to all who beheld him She further says that Rama was so handsome that though we (including of course सीता) could see him as often as we pleased, yet on each occasion he appeared as handsome as ever Compare 'क्षणे क्षणे यन्नवतामुपैति तदेव रूपं रमणीयतायाः' विश्रान्ति करणानि (इन्द्रियाणि) यस्य. पाण्डु क्षामं (सन्नि) यस्य who.e complexion is pale शुचा (to be construed with all the three adjectives in the third line) by grief. कथमपि '...विद्' he is with difficulty to be recognised (lit to be inferred) as the same, still he is agreeable to the eye Although his complexion is pale and he has grown weak, he is as handsome as ever and so still causes delight to the eye In the first line V and Gh read ददौ for ददद्, which yields a good sense. It seems to be an emendation purposely made, as with ददद् the construction is rather involved. ये for नः is not good. There is no special propriety in saying that Rama could be seen at will by सीता (his wife). The reading नव नयनैः is not good It will have to be construed with नयनोत्सव in the first line, which will lead to दूरात्वय Besides the words नवो नव एव यः present a striking contrast to सततमनिशेनैवापश्यन पश्यन्ती...भूयाः may you be always seeing your dear (husband) ! भूया is Benedictive.

96 NOTES [ III. 22— P 67 स्वप्नदा आसीत् did any body think it possib' in a dream that I would be without him and he without me? जन्मा दर्शन whose sight I have obtained as if in another life She means—for twelve years after I was abandoned, I had no opportunity to look at my husband It is for the first time after twelve years that I see him Who knows whether I may be able to see him again? It is therefore that she uses the word जन्मान्तरादिव लब्ध दर्शन यस्य The reading अनुबन्धदर्शना (अनुबन्धं दर्शनं यया) is not bad and means 'who obtained a sight of him' &c बाष्पसलिलान्तरेषु in the intervals of the (falling of) tears Verse 23 The principal sentence is से दृष्टिं हृदयेशं स्नपयति विगुलितम् qualifies बाष्पन्, which is the object of अवसृजन्ती आनन्दश्च शोकश्च ताभ्यां प्रभव यस्य प्रसृता च उत्ताना च दीर्घा च She had stretched her eyes to see intently her husband विभु दीर्घा (eye) that is stretched out, upturned and has beautiful (or long) eye- lashes and that drops down tears due to joy and sorrow, that (tears) flow down in floods विगुलित adj tremulous, shaking The joy was due to seeing राम after the lapse of 12 years The sorrow is due to her being abandoned without cause by a loving husband. स्नेहनिष्यन्दिनी स्नेहनिष्यन्द अस्ति अस्या इति—possessing a flow of affection स्नपयति हृदयेशम् as if bathes the lord of your heart (i. e राम) Her tears fall on her bosom, in her heart is enshrined राम and therefore the poet represents as if she were bathing राम in her tears धवल मुग्धा white, sweet and charming दुग्धकुल्येव like a stream of milk (on account of whiteness) She being separated from her husband, had used no अञ्जन (black collyrium) and therefore her sight was white and resembled दुग्धकुल्या Note 'स्त्रीणां शरीरसंस्कारः समाप्नोऽवश्यदर्शनम्। क्षारं परगृहे वासं त्यजेत्प्रोषितभर्तृका॥' याज्ञवल्क्य I 81 V and Gh read तृष्णोलोचनदीर्घा that was stretched out wide through the eager desire (to see राम) This is a good reading but seems to be conjectural. Verse 24 अयम्—see notes (p 51) मधुश्चुत (adj of तरव )—that drop down honey मधु श्च्योतन्ति इति G seems to have read मधुश्चुतो (adj of पुष्पै and फलै) This is not good, as we rather expect 'मधुमतैः' स्फुटित निश let the sylvan breezes blow full of the perfume of expanded lotuses कन्त शकुन्तय let the birds whose notes are melodious sing sweetly and continuously रज्यत (राञ्जुक्ता ) कण्ठाः येषाम् The reading रक्तुकण्ठा would mean 'who have raised up their necks (to see राम) through their affec- tion for him (रत्या रामविषयकप्रेम्णा उत्कण्ठा उन्नतकण्ठा ).

—III 24] UTTARARĀMACHARITA 97 P 68 अश्रुतिं नीय representing that he did not hear (what she asked) राम did not like that she should have an oppor- tunity to ask something about सीता Verse 25 कः कोऽपि my heart is affected in an indescribable manner when I see those trees, birds and deer whom सीता tended with water, wild rice and grass (respectively), given from her own lotus like hand द्रव योग्य which (विकार) is capable of breaking (even) a stone and is as if the liquid essence of my heart प्रस्तरस्य उद्भेदः यस्मिन् योग्य राम seems to suggest that though his heart is as hard as a stone, his emotion is so powerful that even that hard heart has melted The reading प्रस्योद्भेद० of N does not yield any satisfactory sense The figure in the first half of the verse is द्वयसमुच्चय which is defined as 'यथासंख्यं क्रमेणैव क्रमिकाणां समन्वय' काव्य- प्रकाश L. Gh. explains 'प्रस्तरस्य पाषाणस्य उद्भेदः द्रवः तद्योग्यं तत्तुल्यः' But this is not good. There is no propriety in saying that the emotion is like the melting of a stone especially when we take the words in conjunction with द्रव इव हृदयम् Besides योग्य in the sense of तुल्य is rarely used, if at all 'योग्यं प्रतीयोगाद्होर्शनि शाक्तेषु वाच्यवत्।' इति मेदिनी ननु पृच्छामि I do ask ननु is used here in the sense of 'emphasis, or in the sense of 'calling in a con- ciliatory manner' 'प्रश्नावधारणानुज्ञानुपामन्त्रेषु ननु' निष्प्रणय void of affection नितरां प्रणयः यस्मिन् आमन्त्रणपद word (mode) of address. वासन्ती was the dear friend of सीता and so of राम, who a few lines above, addresses her as 'सखि वासन्ति' He therefore expected that she too would not stand on ceremony and would address him in a homely way as रामभद्र Instead of such homely words, she uses the formal word महाराज, conveying perhaps a hint that he paid more regard to his duties as a king than to his duties as a husband सौमित्रिः (सुमित्राया अपत्यं सौमित्रिः लक्ष्मणः) एव सौमित्रि मात्रम् तस्मिन् बाष्पेण रुद्धकण्ठि अश्रूणि यस्मिन् सौमित्रि प्रश्न there is an inquiry as to the health of लक्ष्मण alone in a voice which is choked up on account of tears. It was naturally to be expect- ed that the first question which वासन्ती would ask would be about her friend सीता विदितः सीताया वृत्तान्तः यया सा विदि तास्त्वा । अम्-yes 'आमोऽनु' इत्यमरः (अङ्गीकारार्थे। क्षीरस्वामी) परं दारुण extremely relentless. किं पश्यसि, what art thou that cagest on (to राम)? सीता means that वासन्ती is herself cruel in taunting Rāma in this manner Or the words may simply mean 'why do speak thus'? प्रियार्ह पुत्र my lord deserves good (treatment) from all. प्रियं अर्हतीति प्रियार्ह. Verse 26 This is a fine specimen of the 9

98 NOTES ON [ III 26— force and pathos of Bhavabhuti's words It will be noticed that, though भवभूति can use long and involved compounds, this verse, being full of intense feeling, is almost free from them. The ध्वन्यालोक requires this. 'करुणविप्रलम्भशृङ्गारयोस्तु असमासैव सङ्घटना । कथमिति चेत्, उच्यते। रसो यदा प्राप्ता येन प्रतिपादकता तन्मयी व्यवधायका विरोधिनश्च सर्वथात्मनैव परिहार्याः । एवं च दीर्य्यमाणा सङ्घटना समासानामनेकव्यवहारस- म्भावनया कदाचिद्रसप्रतीतिं व्यवदधातीति तस्या नात्यन्तमभिनिवेशः शोभते । विशेषे- तोऽभिनेयार्थे काव्ये ततोऽन्यत्र च विशेषतः करुणविप्रलम्भशृङ्गारयोः । तयोर्हि सुकुमार- तरत्वात्स्वल्पाप्यमन्दसङ्घटना शब्दाथयो प्रतीतिर्वगंर्भवति ।' pp 139-140 दृश्य मन्द्रे you are moonlight to my eyes ( i e as delightful ), you are nectar ( applied ) to the body ( i - your touch is cool and gratifying like अमृत ) इत्यादि मुग्धा having pleased ( flattered ) the simple ( सीता ) with hundreds of sweet words like these She suggests that सीता must be foolish to have looked upon all these smooth words as true and to have relied upon you impli- citly त्वमेव —she meant to add वचनान् व्यवस्थानिति But the idea of abandonment is too much for her and she breaks off in the middle of her words शान्तमथवा or hush ! what is the use of say- ing more? This verse is quoted in the दशरूपक (III 17) under आक्षेपे The latter half of the verse is a fine example of the figure of speech called आक्षेप, which occurs when there is an appa- rent denial (or suppression) of something which was intended to be said for the purpose of conveying some special meaning स्थाने मोहश्च It is proper that she stops in the middle of her speech (lit sentence) and faints 'युक्ते द्वे साम्प्रतं स्थाने' इत्यमरः तमसा means that it is quite natural, considering the great friend- ship of वासन्ती for सीता, that she should break off in the midst of er speech on account of excessive sorrow and should faint Moreover it seems to us that the poet wants to defend his own treatment of pathos He means that it is quite in keeping with poetic ideals that he should make his characters break off in the middle of their speech and that he should represent them as fainting P 69 दिष्ट्या—सीता wishes that her friend should desist from harrowing her husband with pointed questions, पौरैरो दीति because the people would not tolerate it ( i e would not allow him to have सीता ) मृष् 4th conj to bear इति shows reason The words are to be taken as an answer to the query of वासन्ती कस्य हेतो for what reason ( would the people not tole- rate it) ? When the word हेतु is used in the sense of 'cause or

—III 26] UTTARARĀMACHARITA 93 Object it is put in the genitive ‘षष्ठी हेतुप्रयोगे’ पा २ ३ २६ (हेतु- शब्दप्रयोगे हेतौ योऽर्थः षष्ठी स्यात् । अन्नस्य हेतोर्वसति । सि. कौ. ) य एव किमपि— the people themselves know what that indescribable reason is. Rama could not bring himself to repeat the undeserved scandal and so uses the word किमपि. Moreover the word, convey some taunt. चिरात्था the taunt comes after a long time (when it is too late). इत्यनेन means that the taunt contained in Rama's words मन्ये किमपि comes too late as it cannot set matters right, सीता having been abandoned twelve years before. The reading उचितत्था is not bad. The meaning is this taunt given to the people is deserved. But it is not so good as the one in the text. Verse 27 Here again it will be noticed that there are no compounds as the feeling is intense. अयि—is an interjection used as a tender mode of address अनुनये त्वयि इत्यादौ. कठोर is addressed to राम. यशः स्विद् I hear that fame is dear to you. किम् इतरम् what infamy is more horrid than this (viz. the abandonment of one's innocent and pregnant wife)? She means —you abandoned सीता I am told because you thought that otherwise your reputation would suffer. But you adopted a remedy which instead of adding to your fame would rather cause infamy. So how can you be said to be one to whom fame is dear! The second line may also mean would even an evil name be more horrid than this? विपिने in the forest. हरिणदृशः (जनतया ) दृग्दृश्या इत्यनेन यथा मादृश्यादृश तयोः दृक् is used in the sense of अनुकम्पा or खेद. सन्तुष्टपरुषोपहसितानाम्ना यत् दृश्यम्. कथं मन्यसे how do you think? She means —do you think that she is still living? या मय्य मन्दयसि who torment (my lord) that is already afflicted (overwhelmed by sorrow). अत्र स्नेहः it is affection and sorrow that say so. तात्पर्यार्थस्तु that the harsh words of वासन्ती (अयि कठोर &c.) are due to her great affection for सीता and the grief she feels at the sad end (which she supposes) that सीता must have met. कियन् मन्तव्यम् what room for thought is there! (i. e. there is no necessity for speculating about the fate of सीता. I am quite sure she met a sad death). Verse 28 पृथु and उत्पला qualify तन्वी, the principal sentence being तन्वी जन्त्वन्तरैः क्रव्याद्भिः विपिनान्ते विशसिता— her creeper like body was certainly devoured by the beasts of prey. एकहायन (एकं हायनं संवत्सर यस्य) मुग्धं तस्य इव विलोक- (चञ्चल) दृष्टिः दृश्या मा दृश्या—of her who e eyes were as unsteady as those of a frightened fawn one year old. परि पश्यता —

100 NOTES ON [III 28- परिस्रुरित गर्भ तक्ष भरेण अलसाया who was heavy on account of the burden of the quivering fœtus ज्योत्स्नामयीव as if made of moonlight (i. e. so delicate and charming) मृदु कल्पा almost like delicate and fresh lotus fibres (i. e. as fragile as the fibres) The affix कल्पप् is added at the end of compounds in the sense of 'a little less than' 'ईषदसमाप्तौ कल्पब्देश्यदेशीयर' पा. 5 3 67 क्रव्याद्भि—see notes p 49 on क्रव्याद्भ्य अह लतिकेव इव विदुन्ना past pass p of नुद् (6th P नुदति) with वि P 70 प्रिये I am alive (present active of पृ 6 A.) अय ङ्क like an ordinary person (or low person) प्रमुक्त कण्ठ यथा स्यात् तथा प्रमुक्तकण्ठम् साम्प्रतिकम्—proper कर्त्तव्यानि आपन्नानि—per- sons in sorrow must extinguish their sorrow (must seek relief from sorrow) निर्वापणम् extinguishment Verse 29 पूरस्य उत्तीडे (समूहे) पूरो क्रिया when a tank has a large volume (of water), an outlet (or a channel) is the remedy (for prevent- ing the banks from bursting) The word is variously written as तडाग, तडारु, तटाक परि (or री)—वाह drain or channel to carry off excess water The उपसर्ग परि becomes optionally long in accordance with 'उपसर्गस्य घञ्यमनुष्ये बहुलम्' पा 6 3 122 (उपसर्गस्य बहुलं दीर्घ स्वादन्तने परे न तु मनुष्ये ।) 'जलोच्छासा परीवाहा' इत्यमर (on which क्षीरस्वामी remarks "जल प्रवृद्धमुच्छिति परिवहति यैर्निर्गममार्गैस्ते परीवाहा, यल्लक्ष्यम्—उत्पीडितानामम्भासां लाग ण्य हि रघूत्तम् । तटाकोदरसम्पाताँ परीवाह शशम्भनम् ॥") शोकक्षोभे when excited by sorrow धार्यते is supported राम लोक The mortal world is troublesome especially to Rama in various ways बहुभि प्रकारे कष्ट or बहुप्रकाराणि कष्टानि यस्मिन् Verse 30 पाल्यन् should be protected अभियुक्तन मनसा with a watchful mind The fore- most duty of a क्षत्रिय was to protect the subjects 'प्रधानं क्षत्रिये कर्म प्रजानां परिपालनम्।' कामुन्दक० I 119 प्रियाशोक sorrow for his dear wife (सीता) प्रिया रुन्द्धति—compare 'रुन्धति शरीर मुरदिम इइ धर्मे वेनरीगवधम्' on p 53 (text) स्वय हम having aban- doned her himself, the relief due to weeping cannot be easily had If राम were to weep, people would ask him why he should weep, having brought the sorrow upon him by his own deed विलोकन (विलाप) येन विनोद यद रुदितम् therefore crying is certainly a gain in that he still breathes (though heavily on account of sorrow) She means—If Rama had not wept his, sorrow would have had no outlet and the consequences might have been most serious The fact that he shed tears has

-III. 30] UTTARARÂMACHARITA 101 lightened his grief and enables him to live though with difficulty P 71 Verse 31 This verse contains four apparent contradictions, one in each line दलति भिद्यते my heart, the agony of which is very deep, breaks, but is not cut up in two. If the heart breaks, we expect to find it cut up But the word 'breaks' (दलति) is not to be literally understood but metapho- rically and thus the contradiction (between दलति and द्विधा न भिद्यते) is removed Explain similarly the following lines गाढोद्वेगं यस्य We may also take गाढोद्वेगाद् as an अन्यदीयमान् गाढ उद्वेगः यथा स्यात्तथा G seems to have read गाढोद्वेग Then the meaning is deep agony breaks my heart Here हृदय will be in the acc and we shall have to supply हृदय in the nom before भिद्यते, the symmetry of the four lines will be lost So the read- ing of G must be discarded For the intransitive use of दलति compare above 'कथं दलति वज्रमयं हृदयम्' p 18 (text) वहति चेतनाम् the body being overwhelmed brings on stupor, but does not lose consciousness ज्वलति भस्मसात् internal heat (due to sorrow) burns the body, but does not reduce it to ashes कृन्तति .. जीवितम् Fate, cutting the vitals, strikes, but does not cut life. The affix सात् is applied to a word in conjunction with the roots कृ, भू, and अस् in the sense of कार्त्स्न्यं (totality) 'विभाषा साति कार्त्स्न्ये' पा 5 4 52 (निविष्टार्थे सातिर्वा स्यात्कात्स्न्ये) This verse occurs in the मालतीमाधव IX 12 Note the remarks of त्रिपुरारि on मालती "अन्तरेव हि दग्धे यादृशी व्यथा स्यात्तादृशी व्यथा हृदि वर्तते । यदि मोहः कथमेव जानामीत्यत्रोत्तरम् । चेतना तु न मुञ्चत्येवेत्याशयः । तद्यान्तर्दाहः साण्डवनलधूमितपोटान्तरवत्सतु दहति । नहि 'देहं भस्मीकरो' इति भात्सर्वाप्ति- रिति न म्लानता न दृढयते इत्यत्र भस्मसात् करोतीत्युत्तरम्" Verse 32. न किल सा The queen's residence in my house was not approved of by you त्वं लघुर therefore she was abandoned in a tenantless forest as if she were a blade of grass. The words नृशंस are used to show by contrast the great value which Râma set on the people's opinion न अनुरोदिता was not mourned for. चिर.. मया those various objects that have been familiar to me for a long time परिद्रवयन्ति cause to melt (i e affect) The reading परिस्रवयन्ति is not good इदं रुद्यते here do I, being help- less to-day, cry, forgive me (for it). राम says that to cry for सीता would have been to blame the people impliedly. But he says that he is helpless and begs to be pardoned for the nonce, as he has become unnerved by the sight of the objects in दण्डवती,