उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

—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,

102 NOTES ON [ III 32- इदं रूयते—Impersonal अति भारस्य deep is the filling of the exces sive grief (of राम) i. e Rāma's heart has been deeply affected by sorrow आपूरणम् filling, making full (from all sides) सम्भारः preparation collection The reading मयि शोकमावस्य is prefer- able to the one in the text. It means 'the ocean of the sorrow ( of राम ) has been deeply filled अवगूर्ण्ण ( the reading of V and Gh ) is a word rarely used It seems to mean 'eddy, tide ' मयि रम्भडताम् have recourse to firmness as to what is past She means—there is no use in being deeply affected as to what is gone so take courage विमुञ्चवे—Rāma retorts—there is no need to call upon me to be firm, I have been more than that Verse 33 दन्धा वत्सर this is the 12th year since the world was bereft of the queen प्रनष्ट नामापि even her name has as if dis- appeared न च नावसि and it is not that Rāma does not live i. e Rāma does continue to live Two negatives are employed for precluding a possible negation 'सम्भाव्यनिषेधनिर्वर्त्तने द्वौ प्रतिषेधौ' वामन० का०वा०वृ० १ । १ P 72 मोदितास्मि I am charmed . Verse 34 नैताः दारुणा these words, full of affection, are not (i e should not be ) very agreeable (to you) being terrible on account of the grief (they convey ) एता स्रवन्ति these are the streams of honey full of poison that fall upon you Here शोक corresponds to विष and स्नेह to मधु Just as one would not like to have showered on his body poisonous streams though full of honey, so you should not welcome with joy these words of राम though full of affec- tion, because they expose the great havoc which grief has played with his heart. Connect मया with न न सोढ in the following verse Verse 35 The principal sentence is शोकशङ्कु मया नसोढः किम् यथा क्षत (piercing or painful) like a fiery dart imbedded obliquely in the heart तिर्य्यीन is derived from तिर्यञ्च् with the affix इन अलात—तग्र firebrand, half burnt wood 'अङ्गारोऽलातमुलमुकम्' इत्यमर A burning dart would cause great pain if planted in the heart The pain would be greater still if the dart were planted crookedly instead of in a straight line प्रणुन्नम् Thrust in, past pass p of नुद् with प्रनि सविषश्च दंश and (like) a poison- ous bite Supply यथा before सविषश्च We have also to under stand बीजन्द् and सीत्र respectively with शल्य and दंश तथैव सोढः Similarly did I not endure the piercing dart of sorrow in my- heart, though it cut the vitals (of my heart) ? सोढः past pass p. of सह्. पुरापि—once she caused trouble to Rāma when she was

carried away by Rāvaṇa. आयासकारिणा causing trouble. अपिनिष्कम्प स्तम्भितं च मनः कृत्वा यस्य तस्य--though my heart is very firm and steady, निष्कम्प motionless स्तम्भित made steady. संस्तुतानि तानि तानि नियतस्थानि तेषां दर्शनात् संस्तुत वेग (still) my excitement has become fierce (or boundless) by seeing those various familiar things that were dear to me. The things referred to are those in पञ्चवटी which have been mentioned in the preceding dialogue between वासन्ती and राम. संस्तुत=परिचित. वृद्दान् to explain Verse 36. The principal sentence is कोऽपि मनोविकारः प्रसह्य प्रमथ्नाति—Some indescribable emotion of the heart spreads over me vehemently. रोद्धे सम्भ्रमाय in order to stop (or check) the growth (उन्मन्मन्) of the sorrow (करण) that is excited and gone beyond bounds. वेगाया (मदाघाया) उद्दोल क्षुभितस्य च करण- स्य उन्मन्मन् (वृद्धिं) तस्य सम्भरणान् यो भित्त्वा after having again and again baffled (lit broken) every effort which is made by me in my mind with great difficulty. सैकतं ओघः just as a flood of water of irresistible velocity breaks through a dam (सेतु) of sand and spreads. Connect तोयस्य with ओघः. We have to expand the last line into अप्रतिहतजव तोयस्य ओघः सैकतं सेतुं भित्त्वा भित्त्वा यथा प्रसरति. अप्रतिहतः रयः (वेगः) यस्य रेतस्--from सिकता with affix अण् according to 'सिकताभ्यश्च्छः' पा. ५. २. १०४ (सैकतो घटः । शाकरः ।). Most editions read क्षोभोद्दोल० The meaning then is क्षोभा (चञ्चल) उद्दोल (waves) यस्य सः क्षोभोद्दोलः अतएव क्षुभित- स्य—which is agitated because it rises high. 'महास्तू' इत्यर्थः' इत्यमरः. Or it may mean 'extremely unsteady' क्षोभात् (चञ्चलात्) ओघः संविघटन क्षुभितश्च &c. This reading is not bad, but it is not so easily construable as the one in the text. G. seems to have read 'हेतोद्दोल' which means 'easily unsteady'. This is not good. Some read करण for जन. हेतोद्दोलश्च तत् क्षुभितं करणं तत्करणं or एतन्निश्च क्षुभितन्ते च करणानि (इन्द्रियानि) &c. This is not a happy reading. राम tries not to check his organs or mind, but rather his outbursting sorrow. This is what he says in the words अपिनिष्पन्न &c. The reading हित्वा (having aban- doned) does not yield a good sense. P. 73. दुर्वार-दुःख its own grief being removed by this agitation of the sorrow (of my lord) the operation of which is irresistible and terrible. दुर्वारं दारुणं च आरम्भः यस्य, परिमुषितं निजदुःखं यस्य—this qualifies हृदयम्. सीता means that the manner in which Rāma is lamenting frightens her so much that she has forgotten her own sorrow and is stupefied by the thought of

104 NOTES ON [ III. 36- what the consequences of her lord's extreme grief may be किमपि हृदयम् my heart has been stunned in an indescribable manner कष्टं • देव his Majesty (Rāma) has been reduced to a sad condition तद् क्षिपामि therefore I shall divert his attention elsewhere आनयतु देव let your Majesty honour सद्दीपनं तर्कयामि I guess that the remedy for relieving (Rāma's sorrow) which my dear friend employs will surely increase his grief सन्दीपन - the affix अन is कर्तृवाचक here (मन्दीयद्वति इति) वासन्ती drew Rāma's attention to some familiar spots in शमण्डल for the purpose of relieving his sorrow सीता feels sure that the result will be quite the reverse If we take the reading of V and Gh, the meaning will be "my dear friend looks upon the things that are calculated to excite (शम) as a remedy for relieving (his sorrow) This is not bad Verse 37. तस्या मार्ग तेन्मागं तस्मिन् दत्ता दृशयेन- who had fixed his eye on the way (by which she was to return) दृते हुवा (कृतं कौतुकं यस्या ) whose admiration (or curiosity) was roused by the hamsas सैकतम् (a sandy bank) is derived from सिकता with the affix अण् (अ) according to 'देशे लुपिचो च' पा 5 2 105 (वाऽस्य मतुप् च । सिकताः सन्ति अस्मिन्देशे इति सिकताः सिकतिलः सैकतं सिकतिलः । सि कौ. ) Some read ०रोधसि (on the bank) for ०सैकते आयात्या-connect this with तया परि वीक्ष्य marking that you seemed to be vexed (by her tarrying too long) परिदुर्मनायिम- displeased, vexed-past pass p of the denominative verb दुर्मनायते with परि Vide notes (p 10) on दुर्मनायमाणम् बद्धलया अञ्ज she, through timidity, joined her hands in salutation prettily so as to make the (folded) hands appear like a lotus bud कातरम्- कातरस्य भाव Rāma was not really angry, but Sita fancied that he was angry at her tarrying too long and wanted to mollify him by folding her hands before him as a suppliant G finds fault with the author for this description of Sītā, but he seems to be too fastidious वीर० remarks "प्रणामाञ्जलि मलयन्त्यन्तरङ्गादि प्रणामाङ्गुतान्तरित्यर्थः । अथवा 'नामयन्नति वा देव प्रह्रीभावयति ध्रुवम् । प्रह्नी भवति नीचो हि परो नेच्य विलोपयन् ॥ अतो वा नम्रगच्छीद यत्तं नामयति स्वयम् । वाचा नम इति प्रोच्य वपुषा ननमा च यत् ॥' इति भगवच्छास्त्रोक्तरीत्या प्रणाम वौशे- द्वतरामहृदयगमनहेतुभूतोऽञ्जेलिरित्यर्थः । उक्तं च 'अञ्जलिः परमा मुद्रा क्षिप्रे देवप्रसा दिनी' इति । अत एव रामायणे 'कृतापराधस्य हि ते नान्यत्पश्याम्यहं क्षमम् । अन्यत्रे णाञ्जलिं बद्धा लक्ष्मणस्य प्रसादनात् ॥' इति " This verse occurs in the दशरूपक (IV 58) as an example of प्रहर्षणान हृदयमर्मणि गूढ शल्य सम्र - संपट्टने (चालने) by the moving of the dart that lies imbedded in the vitals of the heart. A dart planted in the body causes pain,

—III. 37 ] UTTARARĀMACHARITA 105 but when it is moved after entering the body, the pain becomes greater still So the sorrow of Rāma had already tormented him a great deal. By pointedly referring to former incidents in his life Vāsantī made the sorrow more poignant. P. 74 चण्डि Oh cruel one or angry one वीर० says 'क्वानसी त्युक्त्वा परस्परप्राप्तेनकराम्य शान्तवेड निददक्त लोचिन्तेने दद्यदते' इत्यन्वो • दृश्यसे you as if seem to be here and there, but you do not pity me. Rāma means that he feels as if she were present all round him, but his physical eye cannot catch her. Verse 38 The poet here describes the extreme intensity of Rāma's grief. This verse is one of Bhavabhūti's masterpieces हाहा—shows extreme grief दलते ह्द्यं my whole frame is unnerved (or the joints of my body become relaxed) शून्यं जगन्ती I regard the whole world as a void (because you are not in it) I burn within with dense flames अविरल ज्वाल तया यः यथा (अव्ययीभाव ) नीदृक्—pr. parti nom sing mas (of दृश्)—goes with अन्तरात्मा अन्धयति इति अन्धन् that which makes one blind विधुर helpless साङ् रात्मा my languishing soul, being helpless as if sinks in pitchy dark- ness. विष्वङ् सर्वतः everywhere, in all directions. Or विष्वङ् (all- pervading) may be an adjective of मोह The first seems prefer- able. किम् करोमि stupor envelopes me from all sides, what shall I an unfortunate man, do ? कदनु is equal to किन्दु न्पादति causal of न्यद् 1 P to conceal, cover The reading अविरलवालु would mean 'with incessant flames' On 'क्व करोमि' वीर० re- marks 'किं तद्दरगोगादि निवारदानि, उत तदामनार्थं शोकाननुवदानि, अथवा तादृशवृत्त त्वामन्वेषामि वेति भावः' This verse occurs in मालतीमाधव IX. 20 where we read मन्मथदहति जगद्धर very well brings out the Vyabhichāribhāvas of the Sthāyibhāva (Śoka) of the sentiment of pathos 'विधा भवति हृदयनिति दैन्य, अवयवमन्वि शिथितीभवतीलत्सङ्ग। विश्वं शून्यं मन्ये इति शून्यताचेतना निर्वेद । अविरलज्वान पदा तपान्तम्वलताति विनावतितो दाह । अन्तरात्मा निरानन्द संशयवमाद्वग उन्मादा प्रकारे मन्वतीरेनि न्गन्धे । विष्वक् सर्वतो मोहइण्डयतीति मोहः। मन्दभाग्योह किं करोमीति दैन्यम् " उद्दिश्य with reference to मङ्गल— एतन्सि alas ! accursed am I in that again and again there comes over you who are the support of the welfare of the whole mortal world a change which is terrible because it puts your life in danger सुरुदि० जीवि० यस्मिन् सः संपदित अविश मत एव दारुण दशापरिणाम lit. development of condition i. e. change. ने reads सकलमङ्गलमस्य ( सकलजीवलोकस्य मङ्गलं साधु मङ्गल्यं जनकस्य यस्य ), which means 'whose birth was auspicious to the

106 NOTES ON [III 38— whole world'. G reads मङ्गलाधारमङ्गलस्य (whose birth was the support of the welfare of the whole world). This is not bad. By fainting again and again on account of his sorrow for Sītā, Rāma's life is endangered. त्वया भद्रम् the touch of your hand alone is the means of bringing back to consciousness dear राम P. 75 सम्भावय (lit. cause to be) bring to life. दिष्ट्या (instru. sing. of दिष्टि, used as an adverb) fortunately. प्रत्यापन्न- चेतना येन स ०चेतनः—who has regained his consciousness. Verse 39 आश्लिषन् goes with सम्प्रत्य ०त्मानम् is the object of आश्लिषन् (pre. parti. nom. sing. mas. of श्लिष् with आ). आलिम्पन् धातून् besmearing the constituents of my body both inside and outside with ointments as if prepared from nectar. The धातवः are said to be seven 'रसामृङ्मांसमेदोऽस्थिमज्जशुक्राणि धातवः' (वाग्भट). पुनर् दधत् all of a sudden bringing me back to life. [L16: आनन्दः मोहन् brings on a stupor as if of another kind on account of the joy it causes. The idea is similar to that in verse 12 above and in Act I. 35. आनन्देन निमीलिते अक्षिणी यस्य whose eyes were closed through joy. कथमय how possibly, I should like to know how. मर्मच्छेदकारणे terrible because they cut the vitals. चिरात् स्निग्धेन by the touch of my lord which (touch) is agreeable and cool on account of his long continued goodness सङ्गेन goodness of heart, attachment. यत्न यद्धृदयं which is as if tied (to him) by cement and which quickly removes my pain that was long and terrible. वज्रलेप a kind of very sticky cement. स्विद्यन् perspiring and unbearably paralysed. वेपनशील trembling. जडम्िव as if powerless. This sentence indicates some of the सात्त्विकभावs viz. स्तम्भ and स्वेद. She could not take off her hand from Rama's body though she desired to go away. G. seems to have read चिरप्रणयसम्बन्धीहृद्य which means 'agreeable on account of his deeply loving nature' (चिर प्रणय सम्बन्धिन् स चासौ हृद्यश्च तस्य भावः). N. and G. read उन्मथ्यन्, which seems to mean lessening. शपाययति is a denominative verb from शपु. द्रुतं प्रलापः how is this raving talk? He means that he is not raving but speaking the truth. Verse 40 दर्भोपग्रहेण in the ceremony of marriage. कङ्कणधर wearing the marriage-string (on the wrist). Supply नया before गुणैः. सुधायाः (अमृतस्य) मूर्तिं (व्यक्तिं) दधानम् स सुधामूर्तिः चन्द्रः. The moon is said to be full of nectar, which is drunk by the Gods and the Manes. 'सुधांशोः सुधया देवास्तृप्यन्ति चन्द्रमा । पितृभिर्गोः शश्वत्पिबद्भिः सुधामयः ॥ विष्णुपुराण II. 11. 22

—III 40] UTTARARĀMACHARITA. 107 ... सुधा-मित्रं which was familiar with (i. e. a friend of) the rays of the moon that are as cool as nectar. It must be admitted that the reading in the text does not yield a satisfactory sense. The meaning seems to be that the hand possessed the same qualities as the rays of the moon. The reading चिर- संस्मृत... can be construed much more easily than the one in the text. The meaning then will be — that was familiar to me on account of the touches, cool like nectar that I enjoyed for a long time; will. स एव त्वम् you are now the same that you were at that time (when I was married to you). Sītā had just then touched Rāma. She says that she feels the same pleasur- able sensations on touching him, which she experienced when her hand was taken by Rāma at the time of marriage and after- wards. घन explains 'स एव हस्तसंस्पर्शेन यः सुहृद्भूतः स एव परिचितः स एव संनिधानात्स एव । तेनाद्यपि स्पर्शवशेन कुतस्त्वमेव तत्परिचितस्त्वं चामृतकिरणपरिचितश्च बभूविथ' रिति भावः । नन्वेकस्य महद्भूतम् ।' Or we may look upon the sentence as interrogative: my lord, are you now the same (i. e. as loving and full of concern for me) as you were then? This is not, however, so good as the first, because after what Sītā has actually seen, she can scarcely have any doubt left about Rāma's love for her. न तु अयम्—these words go with दृशौ. तुहिन-शौ—charming on account of its resemblance to a lump of snow. तुहिनस्य (हिमस्य) निकरः (समूहः) तस्य शौचम् (सम्बन्धः) तेन शुभा (मनोहरा). उत्पल-किसलयम् resembling a tender lotus sprout. The two clauses तुषार... and उत्पल... indicate the extreme fairness, coolness and softness of the hand of Sītā. N. and G. read सव्यकरतुलितसुभगः which does not yield a good sense. It means (अन्य इतरः सव्यहस्तः तेन कर-तुल्य-सौन्दर्येण शुभा) charming on account of its resemblance to the other hand of hers. This is hardly of any use in the context. घन० remarks 'सव्येतरकरः दक्षिणहस्तः तथा दक्षिणकरा- परहस्तसौन्दर्यादपि श्रेष्ठः' P. 77. कर-मोहेनैव who was maddened by the touch of my lord. She could not take her hand off from the body of Rāma, who seized it. We have seen (p. 57 text) that she was afraid of incurring the displeasure of Rāma for approaching him without his permission. But here she allowed her hand to be seized by him. प्रमाद carelessness, blunder. अन्तर्लीन-निमीलित-ताम्यत्करणैः दृप्तैः—whose senses are closed (i. e.

108 NOTES ON [III. 40— benumbed, rendered dull or inoperative) by extreme joy. साध्व- सेन परवानस्मि I am helpless (cannot control my actions) on ac- count of agitation. तद् therefore धारय hold कष्टं एव it is a pity that this is all a wild roving उन्माद madness, derangement of brain We have seen above (text p 58) that Sîtâ had be- come invisible to all through the favour of the Ganges. So Vâsantî did not see her. Râma also did not see her, but in the action of touching him he seized her hand. Vâsantî, not seeing Sîtâ, thought that the words of Râma 'एनां धारय' were due purely to Râma being beside himself through sorrow. आक्षिप्य snatch- ing. Verse 41 Construe तस्या स जड प्रकम्पी स्विद्यन् करपल्लव जडाद् प्रकम्पिन स्विद्यत मम करात् सहसैव परिभ्रष्टः that hand of hers, that is cool, trembling and perspiring, all of a sudden dropped from my hand that was cool, trembling and perspiring The poet here speaks of स्वेद and वेपथु (प्रकम्प), which are सात्त्विकभावाः See notes on verse 47 below. न पर्यवस्थापयति आत्मानम् he (Râma) does not compose himself. अनद्ध नयन whose eyes are unsteady, dull stupefied and rolling. अनवस्थित not fixed on any object His eyes appeared at one moment wandering, in another moment to be fixed, then again plunged in darkness and again striving for light. N reads 'अनुबद्धबहुघूर्णमानवेदेन न सम्भावयाम्यात्मानम्' which means I (सीता) do not compose myself, my torments being conti- nuous, many and agitating' अनुबद्धा बहुप्य घूर्णमानाश्च वेदना यस्य. With the reading in the text we have to suppose that सीता refers to the condition of Râma. But we do not find in the sequel any allusion to Râma's rolling eyes &c. If we accept the reading of N, then the sentence refers to the condition of सीता herself. We find in the next two speeches of तमसा and सीता that her helpless condition is referred to. Though she extricated her hand she was extremely flurried and could not present a com- posed appearance to तमसा. Therefore the reading of N is better. G reads 'अनवस्थितस्तिमितघूर्णमान अविरलवेदनं न पर्यवस्थापयामि आत्मानम्'. This is also a good reading. It means 'I do not compose myself who am unsteady, dull and shaking and whose torment is very great' अविरला (not thin, dense) वेदना यस्य. सस्नेह विस्मयं looking (at सीता) with affection, admira- tion and smile. Verse 42 सस्वेद (स्वेदेन सह, बहुव्रीहि) रोमा- ञ्चितं कम्पिनं च अङ्गं यस्या —whose body is full of perspiration, has horripilation and is trembling. प्रिय स्पर्शेन by the pleasure due to the touch of her husband. रोमाञ्च सञ्जात अस्य इति रोमाञ्चितम्.

—III. 42] UTTARARĀMACHARITA. 100 According to 'कदम्बः सर्षपः प्रोक्तः करहाटस्त्विदम्पदः' ५.२.३१. सद्यः तरन्मद- मरुताऽग्रतो वात्या (वातेन) प्रविधूता सिता च स्पृष्टा कोरेव (कणिका) यस्याः 'कणिका कोरकः पुनरित्यमरः' मन्ये कोरेव like the branch (lit stick) of a कदम्ब tree, which is shaken by the wind and sprinkled with fresh rain water and which then has put forth buds. This verse contains a fine उपमा. The body of सीता is compared to कदम्बयष्टि, her कम्प due to agitation is compared to the कम्प of the tree by the wind, स्वेद to जलकण and her रोमहर्ष to buds. Sanskrit poets represent the कदम्ब tree as putting forth buds when rain water falls upon it. दग्ध refers to this very often. Compare 'अभिनवो कदम्बस्तोकहरिद्वेनि उन्मिषितपुष्पकुहरं कुसुमम्', 'पुरम्तद्वाष्पविह्वलोऽय मञ्जुनान् पश्चात्कदम्बस्तनः ' उत्तरभाग. This verse describes the three Sāttvikabhāvas स्वेद, कम्प and रोमाञ्च which are the external indications of the inner feeling. P 78 अप्रेत - भगवत्या I am put to shame by the revered Tamasā (i.e. I am ashamed to show myself to her) in consequence of my being unable to control myself. She could not prevent the external indications of intense love for Rāma manifesting themselves. लज्जिता past pass. p. of a denominative verb from लज्जा. किमेषा मंस्यते what will she think? एव...परदू इति such a repudiation and such an attachment (notwithstanding the abandonment). इति is to be connected with मंस्यते and indicates the thought that सीता fancies might be passing in the mind of तमसा. कथमनास्त्येव how? she is not (here) at all. ननु shows 'emphasis' here. एवंविधं reduced to this (extremely pathetic) condition. न...इति you will please not abandon me who am in this (sad) plight. राम thought that सीता had been to him a moment before but left him afterwards, therefore he says these words. विपर्ययः adj. contrary, topsy turvy. She means—it is not I who left you, but it is you who abandoned me. दृढोत्थम्भनं —हेतु उत्तर श्रेयन् 'उत्पुष्पिताग्रैरेभिरुत्तर माण्डुरत्' चिन्ता. दृढोत्तम्भनं make firm or steady. अतिभूमिं गतं gone to excess (of sorrow). The reading अतिभूमिगतविप्रलम्भम् (कर्म of आश्र्वासयन्) means 'whose sorrow (for his beloved) is gone to excess.' विप्रलम्भ—separa- tion, also 'delusion.' अतिभूमि गतं विप्रलम्भं यस्य 'विप्रलम्भो विप्रयोगे' इत्यमरः. व्यक्तान्नास्तेव—clearly she (सीता) is not here. अपि स्यात् can this be a dream? अपि introduces a question. Rāma asks himself whether he was dreaming when he felt that Sītā touch- ed him. To this he replies in the words न चास्ति सुप्तावकाशः कुतो - निद्रा whence (how) can Rāma have sleep? He means that on 10

110 NOTES ON [ III 42— account of his intense sorrow he hardly gets any sleep स मा- that very delusion which is caused by my brooding repeatedly (over the image of सीता ), follows me again and again अनेकवार परिकल्पना सदा निर्मित The idea is the same as that contained in the words 'नून सङ्कल्पाभ्यासपाटवोत्पादान एष रामभद्रस्य भ्रम' ' (p. 61 text) On सर्वथा वीर० says 'मम वामन्त्याक्षानुपलम्भाद् निद्राया अभावेन स्वप्नानुपपत्तेश्च सर्वप्रकारेणापि सीतास्पर्शनं भ्रमरूपमिति भावः' The word भगवान् is ap- plied to विप्रलम्भ ironically or it means 'very powerful' 'ऐश्वर्यस्य समग्रस्य धर्मस्य यशसः श्रियः । वैराग्यस्याथ मोक्षस्य षण्णां भग इति स्मृतः' क्षीरस्वामी वीर० says 'भगवानित्यनतिलङ्घनीयत्वप्रयुक्तपूज्यता- ख्यापनार्थम्' विप्रलम्भ deceived सीता takes the blame upon her self, because she by touching Rāma induced the belief in him that she was near him and then withdrew her hand पश्य-वासन्ती wants to divert Rāma's mind and therefore shows him other objects Verse 43 पौलस्त्यस्य रथ (see) here the iron chariot of Rāvaṇa broken by जटायु For पौलस्त्य, see notes (p 5) In this line the word is जटायुषः, while in the third line it is जटायु विघटित broken कार्ष्णायस —कृष्णं अयः तस्मात् निर्मितं अय (n) metal in general, also, 'iron पुरतः in front The reading पश्यैते is not good as the words पश्य पश्य in the beginning are common to the whole verse पिशाच खरा asses that had mouths like those of goblins and of which only skeletons remain पिशाचानामिव वदनानि येषान् कङ्काल शेषं येषाम् 'स्याच्छरीरास्थि कङ्कालः' इत्यमरः 'रासभा गर्दभा खराः' इत्यमर G explains खरा as mules खड्गेन छिन्ना चासौ जटायुपक्षतिश्च एताः रीता here are the wings of जटायु cut off by the sword (of रावण) पक्षति f the roots of wings. 'स्त्री पक्षतिः पक्षमूलम्' इत्यमरः 'पक्षात्तिः' पा 5 2 25 (मूलग्रहणमात्रमनुवर्त्तते । पक्षस्य मूलं पक्षतिः । सि कौ ) We may also take यद्न पक्षति as an adjective qualifying अरि खड्गेन छिन्ना जटायुपक्षति येन In that case इतः would mean from this place (darted up into the sky the enemy ) भीता दरि (here) the enemy (रावण), carrying Sītā who was trembling rose up in the sky, resembling a cloud charged with lightning flashing inside. चलन्तीम्-trem bling (through fear of रावण) The reading ज्वलन्तीम् is good and preferable to चलन्तीम् It means burning (with anger or with the lustre of her chastity and beauty) अ तस्यांऽन्तर् विद्युद् यस्य सः, or अन्तः विद्युद् यस्मिन् अभ्रम् उद्द्यन् स्फुरन् busy (here flashing) This is a fine simile The swarthy and large bodied Rāvaṇa is compa- ed to the cloud the fair and trembling Sītā to the brilliant and flashing lightning याम् acc sing of दी अभ्युदगात्-Aorist of

-III. 43] UTTARARÂMACHARITA. 111 र्था with अभि and उद् The reading अन्तर्व्याकुलं cannot be well con- strued with विदूरं Gh suggests that we may separate as अभि (meaning अनियमाना भी यथा स्यात् fearlessly) and उद्भ्याम् This is not very happy वीरो remarks on the comparison 'अनेन दृष्टान्तेन स्वगतोऽवद्यदोषो नास्ति इति सूचितम् ।' For an account of जटायु, see notes p 32 For the encounter between जटायु and रावण, see अरण्यकाण्ड chap. 50-51 भवभूति faithfully follows the रामायण in the particulars mentioned here 'ताडयोरच्छदान्दिव्यान्पिशिताश्य- दनान्खगान् । तांश्चास्य सशरान्बाणान् समरे बभ्रञ्ज ह ॥ अथ विक्षेपमुद्गरं काञ्ची- पञ्चकार्चितम् । मणिसोपानचित्रञ्च बभञ्ज च महारथम् ॥ तस्य व्यायच्छमानस्य रामस्यार्थे स रावणः । पक्षौ पादौ च पार्श्वौ च खड्गमुद्धृत्य सोऽच्छिनत् ॥' अरण्य- काण्ड 51 15-16 As to the words सीता जगन्मयी &c note the follow- ing —'सा तु हा राम रामेति रुदती स्रस्तभूषिता । जगामाकाश माकाशे रावणो राक्षसेश्वरः ॥ ततस्तस्याः प्रवृद्धायाः पीतकोशेयवासिनी । रराज राजपुत्री तु विद्युत्सौदामिनी यथा ॥ सा पद्मरागा हेमाभा रावणं जनकात्मजा । विद्युद्वनमिवारोचिष प्रशुभे तद्विभूषणैः ॥' अरण्यकाण्ड 52. 13-14, 24 तात refers to जटायु व्यापादितः is killed सीता, at the mention of the encounter between जटायु and रावण, forgot where she was and thought as if the events were happening then सावेगम् with excite- ment आ —'आङ् तु स्यात्कोपेऽप्ये' इत्यमरः तातप्रभृतीन् सीता न मन्त्रयतीति शेषः also refers to जटायु as तात as the latter was a friend of दशरथ राक्षसदहकेतो O fire of destruction (or 'comet indicating the destruction ) to the family of demons Vide notes (p 5) on पौलस्त्यकुलधूमकेतो किम विपन्नः does any object of your wrath still exist ? She means —the demons are all destroyed and there is no one left on whom you can wreak your anger मन्यु anger Râma also at the mention of जटायु and रावण forgot himself for a moment अहम्पि —सीता says that she also, like राम, forgot herself उद्भ्रान्ता distracted, gone mad अन्य --वातः now there is a strange change विपर्ययः change, reverse The following verse explains what great difference exists between the former separation of राम from सीता (when she was carried off by रावण) and the present one When वासन्ती asked राम whether any demons yet existed, he recovered himself but the contrast between his condition when enemies existed and when they no longer existed, struck him and made him utter the follow- -ing sentiment The reading अन्यथैवायमधुना प्रलापो वर्तते of V and Gh. is good It means 'this my prattle is now really a prattle ' जल्प्पे significant. The idea is —If I had said 'आः पाप क्व यासि'

112 NOTES ON [ III. 43- at the time when सीता was actually carried off, the words would have been most appropriate. But she, being abandoned twelve years before, is now no more (so राम supposes), and there is no possibility of her being carried off. So these words are really now the ravings of a mad man. We did not adopt this reading, because we believe that it does not contain the original words of the author, but that it is purely conjectural. Verse 44. The first three lines form one sentence. Construe अविरत करं- वीराणां विमर्द्दे जगति जनित रस-स खत मुग्धाक्ष्या वियोग उपायानां भावाद् रिपु-वधि अभूत्—that separation from the lady (सीता) with charm- ing eyes was to last till the destruction of the enemies on account of the existence of remedies (for destroying them)—that separa- tion which produced a feeling of great wonder in the world by the encounters of heroes which contained constant incidents for giving me relief (from sorrow) अविरता (never ceasing) विनो- दव्यतिकरा येषु adj. of विमद्दे. विनोद relief beguiling amusement. व्यतिकर incident. Or -व्यतिकर may be taken to mean सम्बन्ध जनित अल्पहुतरस यस्मिन् or येन—qualifies वियोग. रिपुपाते अवधि (अवसान) यस्य—qualifies वियोग. कथं विप but how can this separation be patiently endured which (वियोग) is without remedy and endless? अप्रतिविध—remediless. राम means—When सीता was carried off by रावण, he fought with him and recovered her. That separa- tion could be borne because there were numerous engagements in that war which thrilled the whole world and diverted the mind of राम. He draws three points of distinction between the former वियोग and the present one. I In the former separation, there were remedies by resorting to which an end could be put to it: in the present one सीता being dead (as राम thought) no remedies were of avail. II There was hope that the former separation would end (and as a matter of fact it did end) while in the present one there is no hope that it will ever come to an end (as सीता was supposed to be dead). III The former separation was made bearable as the mind was diverted by war-like operations, but in the present separation nothing can be done except bearing it patiently. V reads व्यतिकर for -जनिक? In that case it will have to be construed as an adjective of वियोग the meaning being in which there were constant incidents for relieving (sorrow). This is a good reading and will render the verse more symmetri- cal and easy to construe. The reading of the text in the last line is preferable to that of Gh, as it brings out all the three