उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

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

points of contrast between the former and the present वियोग and C seem to have read प्रलय (destruction, dissolution), which is not good. We require the same word (वियोग) in order to heighten the contrast. वीर० remarks 'पुनर्दानाभावान्निश्चये वियोगस्य प्रकृष्टतोक्तिः' निर. भामिनी alas! I am cursed in that (my lord says that) it (the present separation) is to be endless. राम meant that सीता being dead the present वियोग would never come to an end, even if he wished to end it. सीता thinks that he uses the word निरवधि, because he had determined never to welcome her back. These words deal a heavy blow to her, they dispel what forlorn hope she might have entertained of being re-in- stated at some distant date. Verse 45. The first three lines contain five relative clauses. The word यत्र occurs only in three out of these and we have to understand it in two others. कपीन्द्र = सुग्रीव. For the alliance between राम and सुग्रीव see किष्किन्धाकाण्ड 5-7. 'ततोग्निं दीप्यमानं तौ चक्रतुश्च प्रदक्षिणम् ॥ सुग्रीवो राघवश्चैव वयस्यत्वमुपा- गतौ।' किष्किन्धा० 5 15-16. शौर्य—prowess. हरयः of the monkeys. Supply कृताः after जाम्बवतोऽपि. जाम्बवान् is popularly supposed to be the chief of bears. But the रामायण speaks of him as a वानर. 'जाम्बवान् वानरश्रेष्ठः सह सर्वैः प्लवङ्गमैः । भूत्वा हृष्टस्ततोत्थाय सुग्रीवानमब्रवीत्॥' किष्किन्धाकाण्ड 39. 2. He was of signal service to राम in various ways. It was he who encouraged Hanumân to undertake the feat of crossing the ocean. It was he who, when राम, लक्ष्मण and the whole army of the monkeys lay senseless on the battlefield on account of the missiles of इन्द्रजित्, directed Hanumân to go to the Himâlayas and bring medicinal herbs for curing the wounds of the army. See युद्धकाण्ड chap. 74. न गतिः वायोरपि where there is no access even to the son of the wind. This refers to हनुमान्, the son of अञ्जना and वायु. See किष्किन्धाकाण्ड chap. 66. As to the greatness of Hanumân note the words of जाम्बवान् to विभीषण 'अस्मिन्जीवति वीरे तु हतमप्यहतं बलम् । हनूमत्यायुषाहीने जीवन्तोऽपि मृता वयम् ॥ धरते मारुतिस्तात मारुतप्रतिमोजसा यदि । वैश्वानरसमो वीर्ये जीविताशा ततो भवेत् ॥' युद्धकाण्ड chap. 66. 22-23. The words in the text have a pictures- que effect. वायु has access everywhere. But सीता is now there where even the son of वायु cannot reach. क्षमः able. नल was the name of a monkey chief who constructed the सेतु by which the monkey host passed over to Lankâ. Vide युद्धकाण्ड सर्ग 22. सागर says to राम 'अयं सौम्य नलो नाम तनयो विश्वकर्मणः । पित्रा दत्तवरः श्रीमान् प्रीतिमान् विश्वकर्मणः ॥ एष सेतुं महोत्साहः करोतु मयि वानरः । तमहं धारयिष्यामि यथा ह्येष पिता तथा॥' 41-42. सीते हे Oh thou, my beloved

114 NOTES ON [III 45– where art thou in a place which is beyond the reach (lit not the province) of the arrows of even लक्ष्मण ? Some read अविषयं, which is not good. In that case we shall have to supply य before अविषयं, which will break the symmetry, as in other clauses we have यस्य बहु विरहम् I am made to think highly of my former separation (from राम) She says so because then she lived in hopes of again being united to Rāma N reads ॰विरहे, which does not yield a good sense It will mean 'I was highly honoured in my former separation' दुःख दर्शनम् the sight of Rāma will only tend to generate sorrow in the hearts of his friends. किय द्विष्यामि how long shall I make you cry ? He means that all along during their meeting वासन्ती had been crying on account of the sad recollections that Rāma s presence without Sītā aroused तन्मु गमनाय therefore permit me to go. P 81 वर्षवर्धन सादयितु in order to perform the auspicious ceremonies for the prolongation of the life of (कुश and लव) N reads वर्षद्वैतमङ्गलानि which वीर० explains 'द्वादशवर्षपूत्तिमङ्गलानि देवतापूजादीनि शुभानि' दुर्लभं दर्शने यस्य अस्ति—This sentence explains why Rāma wanted permission to go He had began the अश्वमेध sacrifice in the midst of which he had come to punish शम्बूक (see pp 39 40 text) The speech of राम extends up to अनुज्ञाप्योद यामि But in order to produce a striking effect on the spectators, the author has interposed the two utterances of सीता The audience hears both राम and सीता But सीता is supposed to be invisible to राम सोत्कम्पम् in a trembling manner (with a trembling heart) The words of Rāma (अस्ति सहधर्मचारिणी ) are like a thunderbolt to सीता and cause for a moment a heart rending shock and make her hold her breath But the following words (हिरण्मयी &c ) at once relieve her and she breathes freely सोच्छ्वासम् with a deep sigh (of relief) and tears आर्य त्वम्—she means that what he has done is like him self, is what was expected of a noble and loving personality like राम उत्खात पृषण my lord has now plucked out (from my heart) the dart of shame due to my abandonment by him सीता means - my abandonment without any cause has been rankling in my heart like a dart. But the fact that Rāma yet loves me so intensely as to have by his side my image has made me forget the undeserved treatment I received I feel no shame now, - Rāma has done sufficient penance for his bad treatment of me and I am now quite satisfied. तथापि—सीतापरित्यागे सति तथापि .

—III 45] UTTARARĀMACHARITA 115 प्रेदानि I shall divert my eye full of (lit. smeared with) tears by looking at the image of सीता The purpose of the third Act is to take away the grief of undeserved abandonment rankling in Sita's heart is here accomplished. धन्या सा— This refers to the image आशा लोकस्य has become the stay (lit. tie) of the hope of the world. The whole world depend- ed upon the life of राम, which in its turn, depended upon the comfort derived by looking at the image एवमात्मा स्तूयते—In this way you praise yourself. The praise of the image is virtually the praise of the original (सा सीता herself) परि- हसितास्मि भगवत्या I am laughed at by the revered (तमसा) महान् प्रमादः this meeting has been a great favour to me. व्यतिकर: contact गमन कार्यम् as to going away, you should so act as will not interfere with your duties. प्रतिकूला संवृत्ता— वासन्ती became unfavourable as she permitted Rāma to go, which Sītā did not desire कथं गम्यते how can you go? She means that in the condition in which सीता is seen to be it is impossible for her to go. Connect मय्यास्तं with चक्षुष in the follow- ing verse. Verse 46 प्रत्युप्तं रभ्यते the contact of whose eye, which is as if rivetted on your husband and is wide stretched through the longing (to see him long), can be checked only with efforts resembling the piercing of vitals. She means— सीता has rivetted her eye on राम, to take away that eye from Rāma would require tremendous efforts and cause as much anguish as piercing the vitals would do. प्रत्युप्त inlaid, fixed. तृष्णाया दीर्घस्य संनिकर्ष contact, proximity. Most editions read the last half as मर्मच्छेदपरीक्षतैरुपायैर्न समाप्यते the withdrawing of your eye is not effected (lit. completed) even with heart-rending efforts. This is good, but seems to be a conjecture in order to gloss over the difficulty caused by 'मर्मच्छेदोपमैर्यत्नैः' P. 83 अपूर्वपुण्येन जनेन दर्शनं दत्तो D and G read सुकृत- पुण्यजनदर्शनीयाभ्याम् सुकृत and पुण्य mean the same thing. In order to avoid this, G makes a desperate suggestion and takes पुण्यजन to mean the राक्षस. विभीषण पुण्यजन does mean राक्षस 'यातुधानः पुण्यजनो नैर्ऋतो यातु रक्षसी' इत्यमरः वीर० is more reasonable and explains 'सुकृतानि पुण्यानि येस्ते सुकृतपुण्याः । सुकृतपुण्याश्च ते जनाश्चेति विग्रहे कर्मधारयः' कियच्चिरं दर्शनम् How long is it possible to see the moon on the full-moon day when screened by clouds? She means—when there are clouds in the sky, a sight of the moon can be had only at intervals and for a short time सीता means

116 NOTES ON [ III. 46— that she must look upon herself as extremely fortunate in that she obtained, though for a short time, a sight of राम after so many years. Here राम is spoken of in terms of the full moon. This indicates the व्यभिचारिभावनिर्वेद (resignation, dejection). अहो धानकम् Oh, how strange is the arrangement of incidents (in the lives of राम and सीता). It also means the plot of a drama. Here भवभूति indirectly suggests that his own skill in arranging the events of his plot is superb. Verse 47. एको विकारान् The identical sentiment of sorrow, appearing different in con- sequence of (the presence) of different circumstances, seems to assume several different forms. तमसा says:—the sentiment underlying all these strange and manifold incidents of the lives of राम and सीता is only one, viz. करुण. But on different occasions, that sentiment presents other appearances on account of the external conditions in which that sentiment has to operate. At one time the sentiment may border upon शृङ्गार, at another time it may verge upon वीर, but all the same the under-current running beneath all these outward manifestations of शृङ्गार or वीर is always करुण. In order to illus- trate this, तमसा gives an illustration. आवर्त...समग्रम् just as water (assumes) the various forms of effects, whirlpools, bub- bles, waves, though all that is (in reality) water only. Supply— जायन्ते after अम्भो यथा. आवर्त—whirlpool. Whirlpools, bubbles and waves are manifested in water. When we see them, we are not to suppose that they are entirely distinct from water, which is their substratum. They are in reality various forms and phases of water. Without water they cannot be. Similar- ly in the life of राम and सीता, करुण is the all-pervading sentiment though at times we may see it in the form of शृङ्गार or वीर on account of the conditions under which it is operating. The word विवर्त has been explained above (notes pp. 58-59). It is to be noticed that the word occurs here in juxtaposition to विकारान्. This may plausibly be urged as a reason for holding that the word विवर्त was used by the author in the sense of विकार and not in the strict technical sense as explained on p. 59 of the notes. But the occurrence of the word in the 6th Act in the verse 'विद्याकल्पेन मरुता मेघानां भूयसामपि। ब्रह्मणीव विवर्तानां क्वापि प्रविलय- यः ॥' lends support to the view that the technical sense of the word was known to the author. The words क्वापि प्रविलय require that the appearances manifested in ब्रह्म exist no more and that

—III. 47] UTTARARĀMACHARITA. 117

—there remains only one undifferenced Brahma. It appears to us that even in the present verse the word विवर्त is used in its technical sense of 'an illusory appearance'. The author means that everywhere the underlying रस is करुण, but to readers and spectators of average abilities it appears that in some cases the रस is शृङ्गार or वीर that however, is a mistake due to the निमित्तs (the उपाधिs) in conjunction with which the one रस (करुण) is working. The example is given only for the purpose of show- ing the oneness (sameness) of the underlying entity. It is not necessary that the illustration and the thing illustrated should be on all fours. Hence the word विकारान् cannot help in determining the sense of विवर्तान्.

This verse is a key to the whole of the drama. By putting it in the mouth of तमसा, the author secures two objects. He brings out that करुण is the keynote of Rāma's life. He further puts forward this verse as his own analysis of the whole drama being apprehensive that his readers and the audience may not be able to appreciate his execution of the task he had set to himself. We may regard him as saying—The underlying senti- ment throughout this drama is करुण. At times it may appear at first sight that the main sentiment is शृङ्गार (as in the first Act) or वीर (as in the fifth) but that is only an appearance; the reality is that even there it is करुण that is the main under- lying sentiment. The शृङ्गार in the first only serves to heighten करुण by the great contrast it presents when सीता was with Rāma and her separation from him which quickly follows. The वीररस also lends a charm to करुण, inasmuch as we behold that on account of the one initial act (which is the basis of the whole superstructure of करुण) of abandoning सीता, राम is almost about to fight with his own son without knowing it. Further it seems to us that the author hurls down a defiant challenge to some of his fastidious critics. Some writers on dramaturgy laid down that in a Nātaka technically so called the principal रस must be either शृङ्गार or वीर. For instance the साहित्यदर्पण (which is later than भवभूति) in describing what a नाटक should be says 'एक एव भवेदङ्गी शृङ्गारो वीर एव वा । अङ्गमन्ये रसाः सर्वे कार्यो निर्व- हणेऽद्भुतः ॥' It seems to us that भवभूति did not like these ideas of the critics and triumphantly calls upon them to note that he has written a नाटक of absorbing interest and surpassing beauty, in which the principal रस is करुण and not शृङ्गार nor वीर.

118 NOTES ON [III. 47— The word रस requires some explanation. रस is that indes- cribable feeling partaking of the nature of bliss which a man of taste experiences when he appreciates a poet's work and comes to be in tune with it. Rasas are said to be eight शृङ्गार, हास्य, करुण, रौद्र, वीर, भयानक, बीभत्स, अद्भुत. Some add a ninth शान्त. The साहित्यदर्पण (III. 1) defines रस as 'विभावेनानुभावेन व्यक्तः सञ्चारिणा तथा। रसतामेति रत्यादिः स्थायिभावः सचेतसाम्'॥ Love (रति) and the like which are permanent moods (or underlying sentiments) in any com- position when manifested by विभाव, अनुभाव and सञ्चारिभाव, attain to the condition of रस in the man of taste. The स्थायिभाव cor- responding to the above eight Rasas are रति, हास, शोक, क्रोध, उत्साह, भय, जुगुप्सा and विस्मय. विभावाः are those which are the causes of the स्थायिभावs i. e. on account of which the स्थायिभावs रति &c. are manifested and those which nourish them (रति, हास &c.) when they (रति &c.) are produced. विभावाः are of two kinds आलम्बनविभाव and उद्दीपनविभाव. Women (in the case of men) and men (in the case of women) are the आलम्बनविभाव, because they produce the स्थायिभावरति. The gestures of the आलम्बनविभाव, चन्द्रोदय, वसन्त &c. are उद्दीपनविभाव because they inflame love. अनुभावाः are the effects of the स्थायिभाव रति &c. which indicate externally the working of the feelings (अनुभावो विकारस्तु भावसंसूचनात्मकः। दशरूपक IV. 3) such as glances, perspira- tion. Under अनुभाव are included the eight सात्त्विकभावs 'स्तम्भः स्वेदोऽथ रोमाञ्चः स्वरभङ्गोऽथ वेपथुः। वैवर्ण्यमश्रु प्रलय इत्यष्टौ सात्त्विकाः स्मृताः॥' (नाट्यशास्त्र 6. 22) व्यभिचारिभावs (or संचारि०) are those moods which help or are accessory in apprehending स्थायिभाव or its effects; they are so called because they are not permanent, but appear and disappear as waves in the ocean. They are 33 in number, निर्वेद, ग्लानि, शङ्का &c. (see नाट्यशास्त्र 6. 18-21). They are not main sentiments in a composition, they are associated with the main sentiment in a composition. We have in various places pointed out the सात्त्विकभावs and व्यभिचारिभावs. सीता and राम are the आलम्बनविभावs. The sight of पञ्चवटी and the various spots in जनस्थान are the उद्दीपनविभावs. The illustration of water and bubbles &c. occurs often in the Vedantasutrabhashya of Sankaracharya. 'यथा हि समुद्रादुदका- त्मनोऽनन्यत्वेऽपि तद्विकाराणां फेनवीचीतरङ्गबुद्बुदादीनामितरेतरविभाग इतरेतरसं- पादिश्चलश्च व्यवहार उपलभ्यते on ब्र०सूत्र II. 1. 13; 'यथा च समुद्राद्यनेकेषां फेनतरङ्गाद्यात्मना मानस्तत्त्वम् on ब्र०सूत्र II. 1. 14.

—III 47] UTTARARĀMACHARITA. 119 P 84 तमसावासन्त्यौ—तमसा addressed the following verse to सीता and वासन्ती addressed it to राम. It is to be remem- bered that वासन्ती and राम did not see both तमसा and सीता. Compare a similar device below V 16, 18-19. Verse 48. Understand दिशतु with each of the nouns in the nomina- tive viz. अवनि, अमरसिन्धु, कुलपति, वसिष्ठ, अवनि the earth. अमरसिन्धु the river of the gods, i. e. the Ganges. सार्धं याभिः— this goes with अमरसिन्धु —together with others like us कुलपति —a sage who is the head of an institution where 10000 sages are fed and taught ‘मुनीनां दशसाहस्रं योऽन्नदानादिपोषणात्। अध्या- पयति विप्रर्षिरसौ कुलपतिः स्मृतः॥’ आद्यः श्लोकः—the first person to employ the metre (अनुष्टुभ्). This refers to वाल्मीकि. अनुध्याता अरुन्धती दृश् म् अनु ...दीक् —for the affix क, see notes p. 6. त्वयि मङ्गलाय may (they) bestow blessing on you for your great wel- fare. It will be seen later on that all the persons mentioned in this verse contribute to bring about the reunion of Rāma and Sītā. In some editions this Act is called छाया. The reason is that in this Act सीता was throughout present as if she were the shadow of Rāma, though invisible to him. This Act is the most important in the drama. At its commencement we see that Sītā's heart, injured by her undeserved abandonment under a trick, nurses a feeling of resentment and is almost indifferent to Rāma. By a skilful manipulation of incidents the poet shows that she is completely reconciled to Rāma at the end of the Act. The purpose of the remaining four Acts is to give visible effect to this unification of two hearts that had for a time become estranged. Act IV. After the highly wrought feeling of the third Act, the author relieves the tension by introducing a scene in a lighter vein. The scene is laid in the hermitage of वाल्मीकि. The in- cidents narrated in this Act seem to have occurred soon after those narrated in the third. In the second Act (p 38 text) we saw that after finishing the twelve years' sattra, Vasishtha, his wife and the mothers of Rāma decided to go to Vālmīki's hermitage. Their recent arrival is announced in the Vishkam- bhaka of this Act.

120 NOTES ON [IV. 1- P 85 भूयिष्ठ जनम् (adj of आश्रमस्य) भूयिष्ठ सन्निपाति- जनविद्यत यस्मिन् in which many guests are present समर्थिके आरम्भे रमणीयता charm due to great preparations Verse 1 नीवारौ चामति the deer of the penance-grove is drinking to its heart's content the scum (gruel) of the boiled wild rice (नीवार ), which is warm and sweet and which remains after being drunk by its mate that has just brought forth a young one सद्य प्रसूता चासौ प्रिया च तस्या पीताद् (पानात्) मण्ड श्वम्- 'भित्सटा दधित्तो सर्पिर्म्मात्रे मण्डमस्त्रियाम्' इत्यमर -the thick oily scum forming on the surface of any liquid, especially of boiled rice On उष्णमधुरम्, वीर० remarks 'उष्णत्वं हि प्रसवविह्वलशरीरतोदपरिहारकम् । प्रियत्व च मधुरत्वे हेतु । अत एव मधुरत्वोक्ति प्रयोजनवती।' सद्य प्रियम्-this shows that even beasts show regard to their mates when they are in a sad condition. ०प्रसूताप्रियापीतात् seems to be irregular We expect ०प्रसूतप्रिया Or we may say that प्रसूता is the name to be applied to a female in a particular condition and then we may have ०प्रसूताप्रिया० in the compound पर्याप्त adj complete, full, पर्याप्तम् adv to one's satisfaction Construe सर्पिष्मत भक्तस्य स्फुरता गन्धेन मनाक् अनुसृत followed (i e mixed) slightly by the spread ing odour of the boiled rice which is full of clarified butter मनाक् adv a little अनुसूत qualifies ०मोद सर्वतः स्तीर्यते the fragrance of the cooking of vegetables mixed with jujube fruits spreads round कर्कन्धूप्ररे बदरे मिश्र शाक तस्य पचन (पाक ) तस्य वामोद आमोद a very sweet or pervading fragrance 'निर्मर्दोत्थे परि मलो गन्धे जनमनोहरे । आमोद सोऽतिनिर्हारी' इत्यमर परिस्तीर्यते--passive of स्तृ (9 P A.) with परि स्वागतं चारणानाम् welcome to these persons, with grey beards, of various sorts, who are the cause of a holiday जीर्ण कूर्चम् (beard) येषाम् सौधातनि after the manner of young boys welcomed the arrival of guests simply because he had a holiday when they came He did not want the old folk for their own sake but for the holiday which their arrival brought In ancient India, holidays were given to students on various occasions one of which was the arrival of an eminent guest. See याज्ञवल्क्यस्मृति I 144-151 'प्राध्य पूजिते च दिष्टे च गृहमागते ॥' 151 (अनध्याय ) Some editions read भागतमनध्याय० as the footnote will show There आगत means आगमने सविशेषेऽभून् special, having a specialty about it अपूर्व गुरुपु your reason for respecting your elders is very wonderful दाण्डायन seems to be the older and more clever of the two So he laughs at his companion's readiness to avail himself of a holiday

—IV. 1 ] UTTARARĀMACHARITA 121 P 86 किं नामधेयं यस्य महत् वर leader (head) of the large body of old persons स्थविर old man धिक् प्रहसनम् fie upon your joking ननु shows 'emphasis' अरुन्धत्या पुरस्कृतान् headed by अरुन्धती दारान् wives दार m wife (always used in the plural) प्रष्ठिकृत्य leading दु वसिष्ठ Is he वसिष्ठ ? (or 'I doubt whether he is वसिष्ठ') 'दुर्वितर्के परिप्रश्ने' इत्यमरः अथ किम् what else ? i. e. yes मया वैश इति As for me I thought that he was a tiger or a wolf आ shows 'anger' येन—मडमडायिता—this is to be connected with मया पुन &c. above—since the moment he arrived, that poor brown heifer was devoured by him कपिला a brown cow कल्याणी-दीर्घ० ex plains 'वत्सतरी। द्वहायनीत्यर्थे' मडमडायिता is the past pass. p. of an onomatopoetic verb समाम्नो मन्यमाना holding in respect the Vedic precept 'a मधुपर्क should be offered with flesh.' मन्यमाना goes with गृहमेधिन श्रोत्रियाय मेध्यन् householders offer to a learned Brāhmaṇa (who has performed a sacrifice) a heifer, a bull or a big goat मधुपर्क is a respectful offering made to a guest, bridegroom or to other distinguished persons It usually con- sisted of five ingredients curds, clarified butter, water, honey and sugar-candy 'दधि सर्पिर्जलं क्षौद्रं सिता चैतैश्च पञ्चभिः । प्रोच्यते मधुपर्कः'. मनुस्मृति enumerates the persons to whom मधुपर्क was to be offered 'राज्ञर्त्विक्स्नातकगुरुन् प्रियश्वशुरमातुलान् । अर्हयेन्मधुपर्केण परिसंवत्सरात्पुनः ॥' III. 119 वसिष्ठस्मृति IV 5–8 contains the following 'पितृदेवतातिथिपूजाया- मेव पशुं हिंस्यादिति मानवम् ॥ मधुपर्के च यज्ञे च पितृदैवतकर्मणि । अत्रैव च पशुं हिंस्यान्नान्यथेत्यब्रवीन्मनुः ॥ नाकृत्वा प्राणिनां हिंसां मांसमुत्पद्यते क्वचित् । न च प्राणि- वधः स्वर्ग्यस्तस्मान्मांसे यधोऽवधः ॥ अथारि ब्राह्मणाच वा राजान्याय वाभ्यागताय महोक्षाणं वा महाजं वा पचेदेवमस्या आतिथ्यं कुर्वन्तीति॥' आम्नाय means 'Veda, Vedic injunction' श्रोत्रिय —'जन्मना ब्राह्मणो ज्ञेयः संस्कारैर्द्विज उच्यते । विद्यया याति विप्रत्वं त्रिभिः श्रोत्रिय उच्यते ॥' पाणिनि has a सूत्र to explain the word 'श्रोत्रियश्छन्दोऽधीते' ५. २. ८४. वत्सतरी a heifer (about two years old) महोक्ष —महांश्चासौ उक्षा च महोक्ष (महत् + उक्षन्) Here उक्षन् (a bull) becomes उक्ष according to 'अचतुर &c.' पा ५ ४. ७७ (which is a very long Sūtra). 'वृषा महामहोक्षः स्याद्' इत्यमरः. गृहमेधिनः गृहे दारैः मेधन्ते सङ्गच्छन्ते इति N. omits महाजं, but from the quotation given above it will be seen that the reading in the text is proper. सं हि मन्यंति for, the authors of Sūtras on religious observances lay down this observance. धर्मसूत्रकारा —Sūtra is an aphorism, which is preg- nant with meaning, though expressed in the most concise way. 'स्वल्पाक्षरमसन्दिग्धं सारवद्विश्वतोमुखम् । अस्तोभमनवद्यं च सूत्रं सूत्रविदो विदुः ॥' A sūtra is generally in prose. सूत्र works were generally divided into three kinds, श्रौत or कल्पसूत्र, गृह्यसूत्र and धर्मसूत्र. 11

122 NOTES ON [ IV. 1– The श्रौतसूत्राs dealt with such sacrifices as दर्श and पौर्णमास, the गृह्यसूत्राs laid down the ceremonies and ritual to be performed in the house with domestic fires, the five daily Yajnas, the संस्कारs such as उपनयन and marriage. धर्मसूत्राs laid down the rules for the various castes and आश्रमाs, for the administration of justice &c. Some of the extant धर्मसूत्राs are those of गौतम, आपस्तम्ब, वसिष्ठ &c. We have given above an extract from वसिष्ठ on the killing of a heifer in honour of a guest. समामनन्ति— from म्ना with सम् and आ 1 P to lay down or prescribe. निगृहीतः — you are caught (or defeated in argument). This is a technical term in the न्याय system. The following speech of सौधातकि in- dicates how he thought he had caught his friend in argument. निग्रहस्थान is mentioned as the last of the 16 categories of the न्याय philosophy 'प्रमाणप्रमेयसंशयप्रयोजनदृष्टान्तसिद्धान्तावयवतर्कनिर्णयवादजल्प- वितण्डाहेत्वाभासच्छलजातिनिग्रहस्थानानां तत्त्वज्ञानान्निःश्रेयसाधिगमः' न्यायदर्शन first Sutra. निग्रहस्थान is defined as 'पराजयहेतुः' in the तर्कभाषा. येन since. वसिष्ठमिश्रेषु—for मिश्र, see notes p. 3. विशसिता was killed, past pass. p. of शस् 1 P with वि to kill, to cut up. निर्वर्त्तिता- effected, accomplished. विसर्जिता was given up or sent away i. e. was not killed. अनिर्वृत्त-मांसास्ते मन्यन्ते the sages lay down (lit. think) this method in the case of those who have not given up flesh. The words 'this method' refer to समांसमधुपर्क. मांसाद् अनिर्वृत्ता अनिर्वृत्त- मांसा —the words are transposed on the analogy of such com- pounds as राजदन्त. 'राजदन्तादिषु परम्' पा. २. २. ३१. (एषु पूर्वप्रयोगाईं परं स्यात्। सि. कौ.) कल्पः rite, rule, procedure. निर्वृत्तो मांसाद्— निर्वृत्तमांसः. दैवदुर्विपाक (lit. bad ripening of fate) misfortune. विज्ञानास —see notes p 27. The मनुस्मृति lays down that a वानप्रस्थ must give up flesh and must subsist on plain vegetable diet: 'अगस्त्योद्भवशाकानि पुष्पमूलफलानि वा। मेध्यवृक्षोद्भवान्यन्नात्तेह्यद्भिः पक्वम- –मदाम्॥ वर्जयेन्मधु मांसं च भौमानि कवकानि च।' VI. 13–14. अत्र तपस्यमानस्य some years have passed since he began to practise penance in the penance grove of चन्द्रद्वीप. कतिपये some (optionally declined like a pronoun in the nom. plural) 'प्रथमचरमतयाल्पार्धकति- पयनेमाश्च' पा. १. १. ३३. चिरन्तनः old. अद्यैव न वेति has he had an interview with his female relatives or not? स्वयं द्रष्टव्य you should yourself come and see the king of Videha. परस्परं मिलिताः have met or assembled together. अनध्यायं मानयात we shall celebrate (lit. honour) the festival of a holiday by playing. P. 88. पुराणानामिव राजर्षीणां उपास्य having waited upon. मूलं... निविष्ट is occupying (i. e. has seated himself at) the root of a