उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

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

—IV 2] UTTARARĀMACHARITA 123 Free Verse 2 हृदि तप्ते who is tormented by the grief about Sita that constantly clings to his heart नित्यं अनुषक्तं अन्तः प्रमथ्य जरन् (अग्निः) यस्मिन् अभ्यन्तरस्थो like an old tree having fire spreading in its inside (in its hollow) The read- ing in the text is better than ज्वलन्निव as जरन् वनस्पति can be well compared to old जनक and is more likely to have a hollow inside where fire may burn मिश्रविष्कम्भक—Vide notes p 64 Here it is मिश्र as one of the two characters is a low one speak- ing the Prakrit dialect This is perhaps the finest विष्कम्भ in this drama. Pathos had been carried to the highest pitch in the preceding Act That tension is here relieved by the dialogue and bright smiles of two boys Verse 3 The principal sentence is मे मन्युर्न विरमति my grief does not cease. अपत्ये व्यथया—(sorrow) that was caused (lit. clung or stuck) by that great misfortune which befell my child (Sita) which (दुरितेन) was hard to bear, which wounded the heart and caused agonies The instrumentals from तेन to व्यथया qualify दुरितेन understood. तेन (दुःखेन) विपुल (which goes with मन्यु) दुरितम्—sin here misfortune जनक refers to the abandon- ment of सीता on account of a scandal in the words तादृशं दुरितम् व्रणितं हृदयं येन पटु विरहाणि which (sorrow) is poignant and con- stantly existing (lit flowing) and which seems fresh though a long time has elapsed धारया बहुभीरु निवृन्तन् cutting (pr p nom sing mas of कृत् with नि). क्रकच a saw The adjectives पटु - विरहाणि can be construed with क्रकच also which may be sharp (पटु), which may have a cutting edge and may seem to be new (bright) even after a long time विरमति—रम् is Atmanepadi, but necessarily takes परस्मैपद when preceded by वि, आ and परि 'व्याङ्परिभ्यो रमः' पा 1 3 91 जरया, दुःखेन and शोकेन are to be connected with आत्तरसासु दुरासद that is irremediable (lit. that can be overcome with difficulty) पराक—is a kind of ex- piatory penance. It consists in fasting for twelve days with the mind and senses restrained 'द्वादशाहोपवासेन पराकः परिकीर्तितः। याज्ञ० III 321 'यतात्मनोऽप्रमत्तस्य द्वादशाहमभोजनम्। पराको नाम कृच्छ्रोऽयं सर्वपापापनोदनः ॥' मनु० XI 215 सान्तपन is another kind of expia- tory penance 'गोमूत्रं गोमयं क्षीरं दधि सर्पिः कुशोदकम् । एकरात्रोपवासश्च कृच्छ्रं सान्तपनं स्मृतम् ॥' मनु० XI. 212, 'गोमूत्रं गोमयं क्षीरं दधि सर्पिः कुशो- दकम् । जग्ध्वा परेद्युरुपवसेत्कृच्छ्रं सान्तपनं चरन् ॥' याज्ञ० III 315 The word प्रभृति includes such penances as चान्द्रायण &c. आत्त रसधातु यस्य the fluid ingredients of which are taken up (i. e. dried).

124 NOTES ON [ IV—3 भार past pass p of दृ with आ अनियम्यमान असहय्य (support) दग्ध नाद्यापि पतति my wretched body does not yet fall (perish) • • • एव अद्यापि मम दग्धदेहो न of the ingredients retched body does not yet fall This reading is not so easily construable as the one in the text V and Gh read अनुपयुज्यमान which means 'that has become useless' Some one may say 'commit suicide, if your body does not perish of itself' To this the following sentence furnishes a reply अथ घातिन for those who commit suicide are arranged those worlds called अधतामिस्र which are with out the sun अविद्यमान सूर्य येषु प्रतिविधीयन्ते—(pass of धा with प्रति and वि) are arranged, are prescribed अन्धतामिश्र means a particular kind of hell While commenting upon the several kinds of hells mentioned by अमरसिंह (in सङ्गेदास्तपनावीचिमहारौरवरौ रवा । संहारः कालसूत्रं चेत्याद्या), क्षीरस्वामी remarks 'आन्धशब्दात् तानिस्रा भता मिखादय' Some take अन्धतामिस्रा as an adjective of लोका, mean- ing 'having pitchy darkness' (अन्धं तामिस्रं तिमिरं येषु) This is unnecessary as the above quotation from क्षीरस्वामी will show Those who explain अन्धतामिस्र as above say that instead of असूर्या we should read असुर्या (fit for or belonging to the असुरा), as otherwise असूर्या would be superfluous when the worlds are said to be full of blinding darkness. On our explanation there is no such difficulty The author seems to have understood literally the passage from the ईशावास्योपनिषद् 'असूर्या नाम ते लोका अन्धेन तमसावृ ता । ताँस्ते प्रेत्याभिगच्छन्ति ये के चात्महनो जनाः' ऋषयः the seers of Vedic mantras अनेक क्रमेऽपि even after the lapse of many years. प्रति निर्मांस which is presented distinctly on account of reflect- ing (brooding) over it every moment प्रतिक्षणं या परिभावना तथा स्पष्टं निर्मांसं यस्य G explains परिभावना as निरन्तर, which is not good प्रत्यग्र fresh दुःसहत्वेन agitation due to sorrow ईदृश दायते such is the lot assigned to your birth that has developed itself that it is not possible for me even to cry aloud (at will) in consequence of shame सीता did not die a natural death. If that had been so it would have been possible to cry aloud for her without feeling shame But she was abandoned on account of a scandal and then died Hence the shame Verse 4 This is a fine specimen of Bhavabhuti's felicitous description of child life The principal sentence is शिशो ते वदनकमलकं स्मरामि—I remem- ber your delicate lotus-like face when you were a child ललित, कुङ्मलाभम् and ०ग्रन्थिन् are three adjectives of वदनकमलकम् In the

—IV 4] UTTARARĀMACHARITA. 125 -text we should read स्खल .. चदित as one word अनियते रुदितस्मिते (रुदितं च स्मितं च) यस्मिन्—that had smiles and cries irregularly (without any settled causes). An infant smiles or weeps with- out our knowing the reason why it does so विरलानि कतिपयानि कोमलानि दन्तकुङ्मलाग्राणि (दन्ता एव कुङ्मलास्तेषामग्राणि) यस्मिन्—in which shone the tips of a few delicate bud-like teeth. स्खलद् असमग्रत मञ्जु (सुन्दर) जल्पितं यस्मिन्—from which fell faltering words that were charming though ceaseless The reading मञ्जु is better than मुग्ध because it helps to produce a charming assonance of sounds. Compare ‘आलक्ष्यदन्तमुकुलाननिमित्तहासैरव्यक्तवर्णरमणीयवचःप्रवृत्तीन् । अङ्का- श्रयप्रणयिनस्तनयानवहन्तो धन्यास्तदङ्गरजसा मलिनीभवन्ति ॥’ शाकुन्तल VII. We may say that भवभूति perhaps is happier than कालिदास in the choice of his metre and in अनुप्रास. This verse occurs also in the मालतीमाधव X. 2. असोढाऽसि you are extremely firm (or hard-hearted). These words convey a rebuke. The word वसुन्धरे is significant. Being the supporter of all the earth is naturally firm. वीर० re- marks "अत्र 'यो वा बिभर्ति काठिन्यं तस्मै भूम्यात्मने नमः' इति वचनं द्रष्टव्यम् । न तु वसुभगवद्रूपतैवेति । क्षमिसद्भावैश्चिन्तयितेयुक्तावनो न्यस्यते” Verse 5. We have to understand हेपितृ after त्य otherwise, we expect a verb in the second person plural and not in the third person plural (as विदुः is). रथो कुलगुरुस्त्वनिष्ठः Or we may suppose that वसिष्ठ is included under गुरुषु and construe कुलगुरुः with भास्करः The sun, as being the first progenitor of the race, is an object of veneration to the whole family of Raghu. सव भास्कर the sun himself (as the highest of all the divinities mentioned). विधां दधि—just as speech generates the lores. विदाम्—the sin- gular is put for the class. वस्तु दैवतम् who (Sita) is a divinity like that (i.e. the goddess of speech). Some take तद् as mean- ing 'like the deities mentioned above'. The reading 'शुद्धिरित्यव- दूत' is bad. जनक would never have referred to the undeserved humiliation of Sita by the ordeal of fire, as he says further on ‘शोकमग्निनाऽप्यसम्भूतपरिशोधने’ (p. 92 text). तया विशसनम्— slaughter (or killing) in that way (i.e. abandoning to die on account of an undeserved scandal). जनक, like राम, thinks that सीता must be dead. दारुणे is addressed to वसुन्धरा कि मनुव्यथा why didst thou endure or put up with? क्षम् 4 P. A. to endure. गृष्टि—this seems to have been the name of the कञ्चुकी. उपदिश्यमान- मार्ग दण्डै to whom the way is shown. उत्थाय—जनक gets up to show his respect to अरुन्धती, the wife of the great sage वसिष्ठ निरूप्य observing closely. धर्मदारा—धर्मपत्नी Mark the plural दारा, though

126 NOTES ON [ IV. 5- in apposition with कौसल्या. क इति who would belive this that she is the same? इ with प्रति to believe. Verse 6 यथा श्रीः like Lakshmi. स्त्रीरेव पदेन or she was herself Lakshmi, what is the use of a word showing a simile? The उपमानपद here is यथा सैषा—these words are to be connected with जाता. कष्टं बत show extreme sorrow. Construe सा एषा दैववशेन दुःखात्मकं किमपि अन्यदिव भूत जाता—through the power of fate she has become as if another indescribable being full of misery. From being like लक्ष्मी or लक्ष्मी herself she has become a miserable being and her state is indescribable. दुःखात्मा स्वरूपं यस्य. We may also construe in another way—सा एषा दैववशेन अन्यदिव जाता, दुःखात्मकं किमपि भूतम्— She has become through the power of fate, as if another, some thing indescribably lamentable has happened. This is not, however, very happy. We expect अस्या इव for अन्यदिव. अहो विपाकः Oh, what a change. For विपाक see ईदृशानां विपाकोऽपि &c. (text p. 52) and विषादे घोरेऽस्मिन्' (verse 12) below. N reads विकारः, which is not good. मीर० explains 'विकारः प्राणिनामुपचयापचयरूपस्तद्दर्श- विस्मयनीय इत्यर्थे.' Verse 7 मूर्तः incarnate. श्रुतेः दर्शनम् the sight of that very person has become unbearable to me like salt (thrown) on a wound. V. and Gh. read before this verse 'अयमपरः पापो दशाविपर्यासः' this is another miserable (or evil) change of condition (that has happened). This is not bad, but seems to be a conjectural addition. क्व कुलगुरोः-यमितव्यं अनध्यवसायः—indecision, want of resolution. N. and G. read महानध्यवसायः—this great effort. The meaning would be—you have been asked to see Janaka by your family preceptor, why do you require so much effort to make up your mind to see him? The words पदे पदे how- ever indicate that the reading अनध्यवसायः is better. संयम्य having made steady. अनुबन्धन obey. सममेव at the same time. सर्वाणि द्रवन्ति all the sorrows spring up. She refers to such calamities as the death of दशरथ, the exile of राम, the abandon- ment of सीता &c. उद्भ्रान्त (उद्+भ्रम्) मूलबन्धं यस्य—the root of which is plucked up. पदबन्धापचितुम् to compose, to make steady. The reading उद्भ्रान्तं is conjectural, it gives a good sense. Verse 8 मनागवाहीनि flowing in a stream (i. e. continuously). संतानेन वहन्ति इति. सम्बन्धि हानि due to separation from relatives (in this case from दशरथ). दृष्टे प्रेक्षणि (loc. abs.) when any person that is very dear is seen. ओघः प्लवन्ते surge around (flow to- gether) as if with thousands of streams. When sorrow has been continuous for many years, it loses its nature of being unbearable. But at the sight of persons that are dear to us, sorrow revives in

all its force and becomes as unbearable as it was when it first befell us The reading सज्जनेषु (due to separation from a good relative) is not good, as it introduces an unnecessary limit- ation One feels deep sorrow though one's near relative may not be a saint Compare for the idea 'अनपेक्ष्य रुरोद सा मृगा स्तनम- र्थाभरणैर्वभान या । स्वजनस्य हि दुःखमग्रतो विवृतद्वारमिवोपजायते ॥' कुमारसम्भव IV 26 वध्वा एव गते when such is the case with my daughter in- law Verse 9 शब्दसम्बन्धी praiseworthy relative कुलोद्वह (lit, carrying or leading) one who continues or perpetuates the family याज्ञवल्क्य is mentioned as an expounder of ब्रह्म in the बृहदारण्यकोपनिषद् ३/४ अध्यायाः III and IV 'जनको ह वैदेह कूर्चादुपवसर्प भगवन् नमस्तेऽस्तु याज्ञवल्क्यानु मा शाधीति स होवाच आज्य सपक्षीत्येव श्लोकेनैकैक इतो विमुच्यमानः स ॠद्धिमानीत्याह तद्ब्रूहि ब्रह्मेवे दन्त्र गमिष्यामस्त्वयि न मेऽहं तद्वेदानी यत्र गमिष्यामि' बृहदारण्यकोपनिषद् IV 2 I मङ्गलरादा—see notes p 53 जगौ (Perfect of गै) sang (i e expounded) महा- राजस्य विशेषः who was non-different from his heart to the great king ((दशरथ) जनक was so dear to दशरथ that he was as if the second heart of the latter स्मारिता दिवसान् I am made to remember (those) days that were delightful on account of the absence of despondency अनिर्वेदेन रम्यान् She means that in the lifetime of दशरथ, she enjoyed unmixed happiness and therefore those days were very charm- ing The presence of जनक who was a fast friend of दशरथ brought to her recollection those happy days and made her feel extremely miserable by the contrast which her present condition afforded सर्वं नानि All that is now no more All that happiness is a thing of the past. V and Gh read सम्भावि- तानि दिवसे which means--I am honoured on a day on which there is no joy अनुपस्थिते (not approached) महोत्सवे दस्मिन् This seems to mean that Janaka paid her a visit at a time when there was no occasion for joy (but rather for sorrow) and that on former occasions his visits occurred when there was some festivity going on This is not a good reading It does not fit in the context as our reading does. The following words 'हा देव महाराजानि' would moreover be abrupt and un- connected with this reading P 92 Verse 10 यदा ॰गुरुतम on account of whom, your husband, the highest among the ancient teachers, and the receptacle (treasure) of holy lustre, looks upon himself as sanctified. This means—वसिष्ठ, though himself full of (Vedic)

128 NOTES ON [ IV 10— lustre looked upon himself as sanctified by having the saintly अरुंधती as his wife. पूतमात्मानं मन्यते इति पूतंमन्य (or पूतंमानी). मुम् is added to पूत in accordance with the Sūtras 'आत्ममाने खश्' पा ३ २ ८३ (सकर्मके मनने वर्तमानान्मन्यतेः सुपि खश् स्याद् वाणिनि । पण्डितमा- त्मानं मन्यते इति पण्डितंमन्यः ! पण्डितमानी । सि कौ ) and 'खित्यनव्ययस्य' पा ६ ३ ६६ (खिदन्ते परे पूर्वपदस्य ह्रस्व स्यान्नो मुम् । सि कौ ) त्रिलोकी- मङ्गल्याम् auspicious to the three worlds. त्रयाणां लोकानां समाहारः त्रिलोकी (द्विगु) मङ्गले साधु मङ्गल्या (मङ्गल + य), according to 'तत्र साधु ' पा ४ ४ ९४. अवनि शिरसा with (my) head resting upon the surface of the earth. जगता वन्द्याम् deserving to be saluted by the world. देवी मिव resembling the goddess Ushas (dawn) तिमिरपि महस् —thus may be taken to refer to the sun who is spoken of as the lover of the dawn in the Vedas. 'सूर्यो देवीमुषसं रोचमानां मर्यो न योषामभ्येति पश्चात्' ऋग्वेद I. 115 2. The adjectives ०मङ्गल्यां, ०वन्द्यां and भगवतीम् are applicable to उषस् also. अक्षरं प्रकाशताम्—may that imperishable light (truth) shine for you (i. e. on you). This means —may the knowledge of the supreme Spirit dawn upon you. This blessing from अरुन्धती is very appropriate. जनक was a ब्रह्मविद्. ब्रह्म is spoken of as अक्षर and as the light of lights. Note 'द्वे विद्ये वेदितव्ये परा चैवापरा च । अथ परा यया तदक्षरमधिगम्यते। मुण्डकोपनिषद् 1 1 4-5 'हिरण्मये परे कोशे विरजं ब्रह्म निष्कलम् । तच्छुभ्रं ज्योतिषां ज्योतिस्तद्यदात्मविदो विदुः ॥ मुण्डकोपनिषद् 2 2 9. स तपति may this god that shines beyond the region of sins purify you. This refers to the sun. For the idea of the sun being beyond sins see notes p. 82. रजस् n. foulness, passion, sin. There is another reading परोरजा. This will mean 'who is beyond sin.' It may also mean 'who is beyond रजोगुण'. There are three गुणs according to the सांख्य system, सत्त्व, रजस् and तमस्. 'सत्त्वं लघु प्रकाशकमिष्टमुपष्टम्भकं चलं च रजः।' सांख्य- कारिका. The sun being a god is सात्त्विक and above रजोगुण. The compound परोरजा (रजस परः ) is irregular. Vide notes on पर- सहस्र p. 18. अप्यस्या मातुः Is it all right with this mother of the protector of the subjects? अनामयम् health, welfare. 'अनामयं स्वादा- रोग्यम्' इत्यमरः (आमयस्य रोगस्य अभावः अनामयम्) अनामयम्—when addressing a person of the क्षत्रिय class, the word अनामय was to be used 'ब्राह्मणं कुशलं पृच्छेत्क्षत्रबन्धुमनामयम्।' मनु० II 127. जनक, being indignant at the undeserved treatment of सीता, does not take the name of राम. Moreover the word प्रजापालकस्य is sarcastic. The idea is—he cared more for the subjects than for his wife. निरव शेष we are taunted harshly and openly. निरवशेष—without leaving anything back, i. e. completely and without reserve. अने-

—IV 10] UTTARARĀMACHARITA. 129 नैव मन्युना on account of this very resentment (due to the abandon- ment of सीता) मन्यु anger, or 'sorrow' चिरे परोक्षस्य रामभद्रमुख चन्द्रस्य दर्शनं दया We saw that कौसल्या went to the सत्र of ऋष्यशृङ्ग and when it was finished she came direct to the hermitage of वाल्मीकि along with वसिष्ठ and others. Thus she had not seen राम for twelve years नार्हसि दूशयितु you will please not give pain. दैवदुर्पाक कोऽपि some indescribable misfortune (lit: bad combination of fate) यत् since प्रवृत्ता बीभत्सा किंवदन्ती येषु Among whom a scandalous report had spread अविद्यमान अल्पक येभ्य extremely mean minded अग्निशुद्धिं न प्रतियाति do not believe in the purifica- tion (of सीता) by fire. इति shows 'reason' को शोधने who is Agni to purify my offspring? Janaka could not bear the idea that his own daughter who was holy by birth, should require purification, simply because scandal mongers thought otherwise. पामरादिना जनेन—refers to the words of जनक 'अग्निशुद्धिं न प्रतियाति' राम ..भूता insulted by राम (in that he abandoned सीता on account of a scandal) एवमेतद् just so (just as जनक says that सीता requires no purification by fire) अग्नि क्षराणि the letters 'Agni' are quite insignificant with reference to my daughter (सीता) पर्याप्तम् sufficient This means that in the matter of purity Agni can bear no comparison to सीता Verse 11 शिशु तया whether you are my child or pupil, let that remain as it is She means that the relationship of सीता to her (whatever it be) is immaterial in the respect to be paid to her विशुद्ध दृढयति the pre-eminent degree of purity in you strengthens my attachment to you The reading दृढयति is better than जनयति अरुन्धती must have had some affection for सीता, as the latter was her pupil, but it was strength- ened by the worth of सीता दृढयति denominative verb from दृढ स्त्रैणम्—womanhood (from स्त्री, according to 'स्त्रीपुंसाभ्यां नञ्स्नञौ भवनात्' पा 4 1 87) शिशु भवतु let there be childhood or woman- hood in you (i. e you may be a child or a woman that does not matter) नु shows 'emphasis जगताम्—the plural is used because there are fourteen worlds गुणा रूप in virtuous beings, it is their virtues that are the objects of reverence, and not their sex nor their age. She supports her words about Sītā by a general proposition and hence the figure is अर्थान्तरन्यास 'सामान्यं वा विशेषो वा तदन्येन समर्थ्यते। यत्र सोऽर्थान्तरन्यासः साधर्म्येणेतरेण वा॥' काव्यप्रकाश X Compare for a similar idea the following—'तेजोगौरव मैरेव मुनीनामपरमीश्वर । स्त्री पुमानित्यनास्थैषा वृत्त हि महितं सताम् ॥' कुमार-