उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

—IV. 18 ] UTTARARĀMACHARITA. 133 P. 97. Verse 18. आविर्भूतं ज्योतिः येषाम्—to whom the light (of ब्रह्म or of truth) has manifested itself This is the reason why their words come out true व्याहाराः words, utterances. भद्रा... निषिक्ता for in their speech there is attached auspicious prosperity. नैते वदन्ति they do not utter words, the meaning of which is fruitless वितुथं अर्थं यस्याः. वितुथ lit. sunk or flooded, hence 'ineffec- tual, false'. The poet seems to have in mind the following Vedic verse quoted in the निरुक्त (IV) 'सक्तुमिव तितउना पुनन्तो यत्र धीरा मनसा वाचमक्रत । अत्रा सखायः सख्यानि जानते भद्रैषां लक्ष्मीर्निहि ताधि वाचि॥' ऋग्वेद X. 71 2 शिष्टानध्ययन—supply दिवसे after this. शिष्टेभ्यः अनध्ययनं (अध्ययनाभावः) यस्मिन्—in which there is a remis- sion of study on account (of the arrival) of distinguished personages. अच्छेद्यमान स्खलितं यथा स्यात् तथा—without any obstacle. The reading उड्डूतं will mean 'tumultuously.' सुलभं भवति—this has passed into a proverb. सुखम् सौख्यं यस्मिन्—in which happi- ness is to be easily had. रामभद्रस्य is to be connected with कौमार०. This is एकदेशी अन्वय. रामभद्र इव with limbs the movements of which are charming, which are stately, and resemble the beauty of Rāma in his youth. अवष्टम्भेन सह (बहुव्रीहि). अवष्टम्भ lit. support hence 'pride or stateliness'. मुग्धानि ललितानि (विक्षेपाः) येषाम्. शौण्डयति—denominative verb from शौण्ड. सस्वगतम्—This seems to be a wrong stage-direction, it should be आत्मगतम्. The stage direction जनान्तिके is used when a character on the stage speaks something to another in such a way that only the person addressed hears it. भागिरथ्या निवेदितं यत् तत् रहस्यं च the secret that was told (to me) by the Ganges. कर्णयोः अमृतम् which is like nectar to the ear. भगीरथी seems to have inform- ed अरुन्धती that Sītā gave birth to two sons and that they were in Vālmīki's hermitage. This was a secret imparted to her and not known to कौसल्या and जनक and so the word रहस्यं is used. This news was extremely gratifying to अरुन्धती and hence she says कर्णामृतम्. कतरः which (of two). P. 98. Verse 19. The principal sentence is contained in the last line इतीति ... अयम्—who is this, that, when seen, fills the eye with ambrosial collyrium? इव श्यामः glossy and dark like the petal of a blue lotus. शिखण्डकैः मण्डनं यस्य adorned with locks of hair (on his head). वटु...सम्भावयन् who, possessed of holy grace, as if gladdens (or adorns) the assembly of boys with his grace पुण्ड्रा श्रीः यस्य. For क added to बहुव्रीहि compounds see notes p. 6. पुन नन्दनः who is my dear Rāma himself as if again 12

become a boy. The reading धीरैव is bad. सभाज् 10th cony or सभाजय् a denominative verb means 'to gladden, honour, adorn' नूनं surely. Verse 20. This verse mentions some of the chara- cteristic marks of a क्षत्रिय student. चूडया चुम्बितानि कङ्कद्वपत्राणि यस्मिन्. कङ्क a heron + पत्रम् feathers (of the heron fixed on an arrow) तूणी a quiver Understand अस्ति after ०द्वयम्. चूडा पृष्ठत on his back there is a pair of quivers on both sides, the feathers of the arrows of which are touched by his lock of hair (on the head) भस्म रोरवीम् his chest having the holy mark of a small quantity of ashes wears the skin of the Ruru deer He wore the skin of रुरु deer as an upper garment. स्तोकं च तत् भस्म च भस्मस्तोकं (कर्मधारय) तदेव पवित्रं लाञ्छनं चिह्नं यस्मिन्. The word स्तोक is put after भस्म in accordance with the Sutra 'पोता-युवतिस्तोककतिपयपृष्टिधैनुवशवेहद्वष्कय णीप्रवक्तृश्रोत्रियाध्यापकधूर्त्तजाति' पा 2 1 65 G takes पवित्र to mean ०व्याघ्रनख (which was hung round the neck of boys as a charm) रौरवी from रुरु (रुरो इयम्) रुरु a kind of deer मौर्वी माञ्जिष्ठकम् the lower garment coloured with the dye of मञ्जिष्ठा (Bengal madder) is tied by means of a girdle of Mūrvā grass मौर्वी—मूर्वाया इदं मौर्वी (or मूर्वाया विकार, according to 'अवयवे च प्राण्योपधिवृक्षेभ्य' पा 4 3 135 ष्ण्यधिकारे। नि ङी ) मञ्जिष्ठया रक्तं माञ्जिष्ठम्, according to 'तेन रक्तं रागात्' पा 4 2 1 (कषायेण रक्त वस्त्रं काषायम् । माञ्जिष्ठम् । सि कौ ) माञ्जिष्ठमेव माञ्जिष्ठकम् The reading माञ्जिष्ठिक is bad, as it is not in accordance with Panini. पाणौ वैणवं —In his hand there is a bow, a rosary of beads and a staff of the Pippala tree. पिप्पलस्यायं पैप्पलं अक्ष वलयम्—अक्षमालिका वलयम् कर्मणे प्रभवति—कार्मुकम्, according to 'कर्मणे उत्सर' पा 5 1 103 Supply अस्ति after each of the three nominatives in the last line Some construe धत्ते with all the things worn by the boy In that case we shall have to read दण्डं तथा पैप्पलम् But this is not a good way of construing the verse We shall then have to take उर as the subject of धत्ते in the second line and the boy (understood) as the subject in the other three lines. A ब्राह्मण student was to wear the skin of a black antelope as an उत्तरीय, his girdle was to be of मुञ्ज grass, he was to carry a staff of विल्व or पलाश tree. It was in the fitness of things that the क्षत्रिय was to wear a garment coloured red मनुस्मृति (II 40-45) lays down what a ब्रह्मचारी belonging to each of the three regenerate classes was to wear 'कार्ष्णरौरवबास्तानि चर्भाणि ब्रह्मचा रिणः । वसीरन्नानुपूर्व्येण शाणक्षौमाविकानि च॥ क्षत्रियस्य तु मौर्वी ज्या वैश्यस्तु शणतान्तवी ॥ माङ्गाल्यो बैल्यपालाशौ क्षत्रियो वाटखादिरौ । पैल्वौदुम्बरौ वैश्यो दण्डा नर्हन्ति धर्मतः ॥' This verse occurs in महावीर० I 18 विभु इति

-IV. 20] UTTARARĀMACHARITA. 135 "what do you guess as to the point, or whence this boy comes? अचिरागता वयम्—She means that her arrival along with that of कौसल्या and वसिष्ठ was as recent as that of Janaka and therefore she had no time to become acquainted with the boy. She did not wish to convey the vague information she had received from the Ganges about the fact of the sons of सीता being in the hermitage of वाल्मीकि. So she uses a dubious expression, which जनक naturally took to mean that she had no knowledge whatever on the point. कौतुक curiosity. के वृद्धाः some old persons here are desirous of seeing you. प्रवृद्धं वयः येषां ते प्रवृद्धवयसः दिदृक्षु adj.—from the desiderative base of दृश् with the affix उ, according to 'सनाशंसभिक्षु उः' पा. ३. २. १६५ (सन्। किरीषु। आशंसु। भिक्षु। सि. कौ.) मतिन् addressed. निग्रह निर्माणस्य will such (a noble) form set aside (violate) good manners? The answer is in the negative. निर्मीयते इति निर्माणं आचारः. A reads भिद्येत, which virtually comes to the same thing. Sanskrit poets are fond of representing that a noble and majestic exterior and noble conduct go together. Janaka means that the boy's noble bearing itself is a guarantee for holding that he knows good manners and will pay the respect due to old age. Compare for the idea 'न ह्याकृतिः सुसदृशं विजहाति वृत्तम्' मृच्छकटिक IV 'न तादृशा आकृतिविशेषा गुणविरोधिनो भवन्ति' शाकुन्तल IV, 'यत्रा कृतिस्तत्र गुणा वसन्ति' quoted by मल्लिनाथ on किरातार्जुननीय VI 1, 'क्षेत्रनाकृतिन् व्यभिचरति शीलम्' दशकुमार० VI. In the महावीर० (VI) we have 'भिद्यन्ते न सदृशनिष्ठाङ्कुरादेषु' P 99. मतिनव निशामित (श्रुत) गुरुवचन येन विसर्जिताः ऋषिकुमारका येन—who sent away the boys of the sages (as he had to go to see जनक). किमप्येतत्—this is something undescribable. Verse 21. एतस्मिन् in this boy. मयि अपि in this boy there is an excess of greatness (of great qualities) softened by his modesty, childhood and simplicity, capable of being perceived by the intelligent, but not by those who are not so. दिम...मीर्त्यै मसृण (soft). मौग्ध्यम्—मुग्धस्य भाव' नियोगेन यथा नियता' G reads निष्ठा which is not bad and means the same thing. मनो गुरु this powerful (excess of qualities) carries away my mind though it is dulled by stupor, just as a small piece of lodestone attracts a mass of iron. यद्वत्—यथा. A reads विनयशिशिर मौग्ध्यमसृण and वीर० explains 'अत्र विनयशिशिरो मौग्ध्यमसृण इत्यनया प्रसिद्धिमोग्धनेन ज्योत्स्नीमवतः शूरं तेजसां समुदायं कथ्यन्ते' The reading 'संमोहं निर्मार्ष्टि' is not good The words एष मध्यवान् are not well construed with संमोह. It is not

136 NOTES ON [IV 21- संमोह that can draw the mind but it must be either the boy or his qualities that will do so The reading ‘संमोहेऽस्थिरमपि’ is better In that case एष बलवान् can be construed with महिम्नामतिशय, which can very well be said to attract the mind, though it has grown dull and motionless through bewilder- ment संमोहेन स्थिरम् The bewildered mind (and therefore slow to move) can well be compared to a mass of iron The boy एष in whom the excess of greatness is seen will well correspond with a small piece of lodestone It can hardly be said that संमोह resembles a piece of lodestone अज्ञातानि नामानि क्रम अभिजन च येषाम् whose names order of precedence and birth I do not know क्रम -सत्कारायानु- पूर्वम् अभिजन -birth family 'कुलान्यभिजनान्वयौ इत्यमर मनु lays down that a young student must rise to receive old persons and should salute them 'शय्यासनेऽध्याचरिते श्रेयसा न समाविशेत् । शय्या- सनस्थश्चैनं प्रत्युत्थायाभिवादयेत् ॥' मनु० II 119 लव did not know whether all were Brāhmanss or क्षत्रियस The salutation would differ in that case All he knew was that they were पूज्य, being old पूज्यानप्रति सः though they are to be honoured by me स्वन is a misprint for शत अविरुद्ध प्रकार a mode (of saluta- tion) that is unobjectionable गौतम lays down that it is not necessary to salute everyone in an assembly separately एष पर्याय here is a salutation of Lava to you all according to your rank and order पर्याय succession regular order Compare ‘एष वो रामशिरसा प्रणामपर्याय' महावीर० IV न सम्पूर्ण not only is my lap filled (by लव sitting upon it) but my desire also is fulfilled after a long time अरुन्धती on hearing that सीता was pregnant had longed to place her child on her lap Twelve years passed away before the desire was fulfilled दरविकसद् यद् नीलोत्पल तद्वद् श्यामल अङ्गबन्ध दर कान्तेन (अनुहरति) resembles (Rāma) in the frame of his body which is dark and brilliant like the blue lotus that is slightly expanding दर adv a little 'दराल्पेऽर्थे मनागपि' मेदिनी कषायिता (भक्षिता) अरविन्दकेसरा वैकषाय कण्ठ यस्य स बकवरि- कण्ठः कण्ठेषु तस्य नाद इव दीर्घदीर्घ तेन-(voice) which is as pene- trating (lit very long) as the note of a swan whose throat has been rendered astringent (कषाय) by eating the filaments of lotuses. ननु वत्सस्य Indeed the touch of this boy's body soft (पद्मक) like the interior of a full-blown (कटोर) lotus is like that (of Rāma's body) चिबुकम् the chin सबाष्पम् with tears and wonder साकूतम् wonder feeling निपुणम् adv closely, carefully संदधात्येव does resemble उन्मत्तीभूतमिव as if gone mad

—IV 21] UTTARARÂMACHARITA. 137 She supposed that सीता was dead and that it was not possible that her child could be living किमपी विलपति prattles out something strange with reference to this (boy) Verse 22 We must take आकृति and द्युति as the subjects of संबिभज्येते Otherwise we shall have to look upon प्रतिबिम्बा as the subject, which does not seem proper But this construction breaks the symmetry We see that all the clauses having सा or सा are separate So it would be better if we could stop at निखिलं As the text stands, we have to take सम्पूर्ण येन as qualifying आकृति वत्साया सैवाकृति that whole frame of my child (Sita) and of the best of Raghus (i e Râma) is seen in this boy as if it were fully reflected. If we read सम्पूर्ण चैव, then प्रतिबिम्बा may be taken as a noun by itself. The meaning then would be 'the complete reflection of my child and of the best of Raghus is assuredly manifested in this boy' N reads संसृष्टि प्रति०, which is easily construable We can in this case stop at निखिलं and take सैवाकृति as a separate sentence But the word संसृष्टि cannot be well explained. वीर० explains संसृष्टि मन्दस्ते । सम्बन्धे इत्यर्थः The meaning then would be 'the whole of the features of सीता and राम is seen manifested in this boy' संसृष्टि literally means 'becoming' सा द्युति the same (as that of राम and सीता) is (his) brilliance (of complexion) सहज natural (not studied). पुण्यानुभव holy majesty पुण्यश्लोको अनुभावः 'अनुभावः प्रभावे च सत्ता च मतिनिश्चये' इत्यमर For देव N reads देवि, which must be taken as addressed to सीता वीर० explains 'देवी तानेन देवभूता गतायास्त्व चयन्निदं मरण्डते इति मन्यन्ते' उत्पथे भ्रमति my mind being unsteady runs by wrong paths (i e wild) अतवे — On account of the great resemblance between सीता and the boy, जनक was led to think that he might be her son. But he supposed her to have passed away when abandoned So he thought it impossible that her son should be existing 'चपल तरलं चौर पारिप्लवपरीग्रहे' इत्यमर. मति-कौसल्या wants to find out whether her surmise has any basis कथयितव्य कथय tell us what is fit to be told. She means-you are only his pupil, how can you be his son? ब्राम्ह्यं led a life of celibacy P 101 एतावदेव-this much only चन्द्रकेतु--son of लक्ष्मण and ऊर्मिला We were informed in the second Act (p 39 -text) that चन्द्रकेतु was sent at the head of the army protecting the horse let loose in the अश्वमेध sacrifice न केन प्रवेष्टव्या no one should trespass upon the precincts of the hermitage अम्वर्तं

138 NOTES ON [IV. 22— adj. neighbouring. It is derived from अर् with अभि, according to 'अभेश्चाविदूरे' पा 7 2 25. (अभ्यर्थम् । नातिदूर नासन्न वा । अभ्यर्हितम् न्यक् । सि कौ ). मेध्वा सहात् on account of (lit. on the occasion of) having to protect the sacrificial horse. मेघ-मेधे साधु जानासि—do you know? एता पुरुषौ—these are the very heroes of the story of the रामायण अथ किम् what else? e just as you say मैथिलस्य दौहित्र —this is dramatic irony लव, not knowing whom he was addressing, speaks in this way दुहितु' अपत्यं पुमान् दौहित्र यदि निष्ठ' If you are so well versed in the story (of the रामायण) कियन्ति how many ? किं नामधेय येषाम् जनक could not rid himself of the forlorn hope that the boy might still turn out to be the son of सीता He puts a fishing question to लव, which, if answered, would dispel all doubts प्रविभाग division, portion पूर्वं कृतः श्रुतपूर्व प्रणीत composed. प्रकाशित not made public अन्य सन्दर्भे (प्रबन्ध) सन्दर्भान्तर डेन 'सन्दर्भों रचना न ना' क्षीरस्वामी अभिनेय अर्थः यस्य. क्षोभ्ये वृत्त' A portion of it has been turned into an independent work, full of senti- ments and fit for being acted on the stage As to rasas, see notes above (p 118) The रामायण is that species of काव्य which is called श्रव्य (to be heard), while a drama is a दृश्य काव्य अभि- नेय (potential pass p of नी with अभि) what is to be acted मुनि भगवान्—these words refer to वाल्मीकि. व्यसृजत् sent भरतस्य—the genitive is used for the dative तौर्य • कारभ् (who is) the author of Sūtras upon singing, dancing and instrumental music 'तौर्यत्रिकं नृत्यगीतवाद्य नाट्यमिद त्रयम्' इत्यमर तूर्यम् a drum तूर्ये भवं तौर्य शुन्द त्रयोऽशा अस्य इति त्रित् (a collection of three), according to 'संख्याया अतिशदन्ताया वन्' पा 5 1 22. (संख्याया कन् स्यादतिंशेदूर्चे न तु त्यन्ताङ्शन्तादा । पञ्चक । अन्तादास्तु सामयिक । सि कौ.) तौयौपन्तश्चि त्रित्न तौर्यत्रिकम् भरत is reputed to be the author of the extant नाट्यशास्त्र The extant नाट्यशास्त्र has 37 chapters and contains over 5000 verses, mostly in the Anushtubh metre There are here and there a few prose passages, which seem to be the original सूत्र round which the extant नाट्यशास्त्र was woven at some later period The नाट्यशास्त्र is said to have been first promulgated by ब्रह्मा कालिदास also refers to भरत as a नाट्याचार्य 'मुनिना भरतेन य प्रयोगो भवतीष्वप्सरसाप्रयो निभुन । ललिताभिनयं तमद्य भर्ता मरुतां द्रष्टुमना मनाकप्रान ॥' विक्रमोर्वशीय I ४ दिप्सतीति for the reason that he will represent it on the stage with the help of the Apsarases We learn from the नाट्यशास्त्र that the Apsarases helped Bharata to perform before the gods. 'अप्सरो- भिर्वर सार्धं तौहर्नायैकहेतुकम् ॥ मषिदिनं मया सर्ग स्वातिना नारदेन च।'

—IV 22] UTTARARÂMACHARITA. 139 'नाट्यशास्त्र chap 3" 19-20 On सत्वविद, वीर० remarks 'प्रणेयव्यापारज्ञानं दर्शनेनान्तरेण करणं भरतं प्रति प्रेषणं च' आकूलनम्—extremely wonderful. आकूत n wonder curiosity. but here it seems to have been used as an adjective V and Gh. read आकूतकरम्—that raises a curiosity तस्मिन्=सन्दर्भे C is wrong in taking it to refer to भरत The following sentence supports us आभ्यां care reward आभ्यामित्यवयोरावस्था' इत्यमरः यतः since अन्तेवासिन् m a pupil (lit one who dwells near his teacher) अन्ते वसतीति according to 'उपसम्राज्ञानिषत्तान्यतरस्याम्' पा 6 3 14 ( क्षेम्यः । छात्यः । ग्रामेवासः । ग्रामवासः । ग्रामवासी । ग्रामवासी । नि० वाँ ) अनुयात्रिक follower, attendant. अनुयात्रा अनुगमनं अस्ति अस्य इति (ठन्) आनुयात्रिक is more usual (अनुयात्रा प्रयोजनमस्य इति ठक्) प्रमा यन् for the pur- pose of warding off accident एवेह भवति your words amount to this that he is the eldest As लव used the word आर्य in speaking of कुश, it followed that the latter was the elder of the two If कुश had been younger than लव, the latter would have used the word वत्स प्रसवक्रमेण by order of birth. According to some, among twins the child born later is the elder one नीलकण्ठ in his व्यवहारमयूर refers to this opinion and rejects it as being not based on any Vedic authority दम्पती twins कय पर्यन्त up to what limit has the composition of the story come ? अलीक (false) शोकापद चैत उद्विग्न (grieved, depressed) चैत निर्वासिता banished. आसन्ना (near) प्रसववेदनया वन्यै.. मुग्ध मुखि whose face is beautiful like the moon कु.. निपातेन what de- velopment of the wicked sport of destiny suddenly fell upon your flowerlike body when you were alone? P 103 Verse 23 नून is to be connected with स्पृशेन्मयि परिभव, वन and व्यथा are the objects of अवाप्य नूनम् surely परिभव insult, humiliation (viz. abandonment on account of a scandal) प्रसवकालेन कृतान् caused by the hour of delivery क्रव्या..वारणेषु— This is loc. abs—while crowds of beasts of prey surrounded you on all sides स्मरणं मेि (surely) I must have often been remembered by you as your protector, when you were frighten- ed (by the beasts) Some read नव च घोरम् In this case नव and घोर will be adjectives of परिभव and one out of the two चs will be superfluous Some read परिभव वचन च घोरन् This is bad, as we do not know what the terrible words are to which Janaka refers. Or वचन may be construed to mean '(scandalous) words'. The reading in the text is the best of all. The reading दुनयवशा would mean 'immodesty' विक्रया lit. doing a thing

140 NOTES ON [IV 24— quickly ; rashness Verse 24 (First half) पतन is the object of उद्गच्छतु, which qualifies मम एत वा—It is time (the proper occasion) for my anger to blaze up quickly by means of bow or curse I having constantly thought over the fall of the terrible thunderbolt in the shape of this calamity वैशसमेव वज्रस्य घोर पतनम् वैशसम्—destruction, slaughter, distress He refers to the undeserved abandonment of Sītā शश्वत् ind again and again constantly 'मुहु पुन पुन शश्वदमीक्ष्णमसकृत्समा ' इत्यमर चापेन शापेन वा—जनक was a क्षत्रिय and so could take up his bow to punish those who wronged him He was also a sage (a राजर्षि) and was able on account of his severe austeri ties and his profound knowledge to curse any one that insulted or harmed him in any way Some read धगिति for झटिति It is an onomatopoetic word meaning briskly प्रसादय—कौसल्या was afraid that जनक might curse राम Verse 25 Construe परिभूतानां मनस्विना प्राय एतत् चित्तम्—This is generally the state of the mind of spirited persons when they are insulted एतत्—refers to क्रोधज्वलन V and Gh place this line in the mouth of अरुन्धती But this is not good The words are quite appropriate to a spirited boy like लव Moreover, अरुन्धती would never utter words that would even indirectly inflame the anger of जनक against Rāma while it would add to the pathos and pic turesqueness of the drama if लव were unknowingly to in flame जनक against his own father मनस्विन् a high souled or spirited person The possessive affix विन् is applied to words ending in अस् and to माया, मेधा and स्रज् 'अस्मायामेधास्रजो विनि ' पा ५. २. १२१ We may also take प्रायश्चित्त as one word The meaning then is This (क्रोधज्वलन) is the satisfaction (of their wrongs) in the case of spirited persons that are insult ed' एव means—spirited persons must avenge themselves when insulted either by fighting or by cursing through anger राज रामस्ते—अरुन्धती means—just as दशरथ looked upon सीता as his daughter because of his friendship with जनक, so जनक must look upon his friend's son as his own Only two were concern ed in the abandonment of सीता, viz राम and the people पाल्या प्रजा the helpless people must be protected She means that it is the duty of a good क्षत्रिय to protect the people and not to destroy them कृपण=दीन Verse 24 (latter half) शान्ते भयम् or peace to both of them as regards Rāma. दमदम् refers to चाप - and शाप यद् मे which (राम) is my treasure in the form of a son. He says—as Rāma is to me a son, I cannot proceed

-IV 24] UTTARARAMACHARITA 141 against him either with a bow or a curse यद् is neuter, be- cause पुरमाऽ is the predicate पुर एव मात्रम् भूयिष्ठानि द्विज- नानि (द्विजाः, बालाः, वृद्धाः, विकलाः, स्त्रियश्च) यस्मिन्-(the citizens) are composed for the most part of Brahmanas, boys, old men, decrepit persons and women. सैन्यन्तीसमूह सम्भ्रान्ता flurried, excited भूतविशेष a certain animal जनपदेषु in countries, as opposed to a forest, in which they were living पशुसमाम्नाय= पशुवेद-a treatise dealing with animals साङ्ग्रामिके=युद्धप्रदे पदसन्दर्भे-in a work dealing with war Verse 26 विपुल abun- dant, large अजस्रम् adv. continuously दीर्घग्रीवा यस्य-that has a long neck. द्वन्वार ऽव-the boys were familiar with cows and noticed that the horse had the same number of hoofs as the cow had. प्रकिरति scatters. शकृत्-मात्राण् balls of dung as big as mango fruits. आम्रमात्रा(परिमाण) देशान् कि ख्याते what is the use of description. आख्यात (past pass. p.) used as a noun अञ्जिने-कर्षन्ति they drag him by his deerskin and by his hands सकौतू.. ननम्-लव had a great curiosity to see the horse and was willing to be dragged away by his companions. But he was afraid that he would be guilty of breach of good manners if he went without taking the permission of the elderly persons in whose presence he was स विनियम् with feelings of curiosity, modesty and with a sense of being guilty If we read कौतुकोदरोध with Gb, the meaning is with mingled feelings of curiosity, constraint and modesty. This is a good reading The constraint was put upon him by the boys who pressed him to come. P 105 अरण्य वय न you and I have been gladdened by the words and forms of (the boys) that have the forest in them. अरण्य गर्भे (वस्त ) येषां ते आरण्यगर्भा रूपा येषां हरी आरण्यगैका The explana- tion of G is not so good as that of वीरो which we give above वज्रितेव as if I am robbed (of all that I value) कचुकी - this is the same whom जनक sent (text p. 9-) to Valmiki to inquire about the boy (लव ) he had seen. ज्ञातव्य- भवद्भि you will certainly know it at the proper time अय विमर्पि this must be something very important. अवगत-understood. अश्वमेध प्रयोगेन अन्य इनि आश्वमेधिक तद्व्याख्यानं that chapter (dealing with the अश्वमेध sacrifice). प्रत्येक-शतसंख्याः the protectors (of the horse) are a hundred of each class viz. persons wearing armour, those that are armed with clubs, those that have a quiver of arrows तन्मात्र दृदयते this army consists mostly of that number (se

142 NOTES ON [IV. 26— 100), or 'this army seems to resemble that' viz. what is pre- scribed as the force that should accompany the अश्वमेध horse यदिह प्रत्यय if you do not believe in this (i e in what I say) किं प्रयोजनं यस्य परिक्षेप्त Surrounded i e guarded सस्पृहम् with longing. ऊर्जस्वल powerful, mighty, pre-eminent सर्व• भावी which implies the humiliation of all क्षत्रियस. उत्कर्षनिकष the test of the greatness Just as gold is tested on the touch stone, so the greatness of a king is tested by the performace of the अश्वमेध sacrifice 'ज्ञानास्तु निकषः कष' इत्यमरः The reading निष्कर्ष is not so good as निकष It means 'the essence' (of the great ness) Verse 27 Construe योऽयमश्व इयं सप्ता वीरस्य दश द्विप पताका अयञ्च वीरघोषणा सप्तसु लोकेषु एक (केवलो मुख्यो वा) वीर तस्य— who is the sole or chief warrior in the seven worlds दशकण्ठस्य रावणस्य कुल तस्य छिद् शत्रुः (राम ) तस्य यो घोषणा this horse is the banner (of राम) or the announcement (of the fact) that (राम) is (the only) warrior (in the world) Although अश्व is masculine, इयं is used because the predicate is पताका क्षेमेन्द्र in his औचित्यविचारचर्चा quotes this verse and verse 29 as illustra tive of प्रबन्धौचित्य and remarks "अत्रार्थे रावणवधव्यतिक्रमेण नूतनोल्ले खिता रामनयस्य सहजविक्रमानुसारिणी शौर्योत्कर्षभूमिः परप्रतारणशङ्कासंदिग्धा प्रबन्धस्य रसपुरामौचित्यच्छायां प्रयच्छति" सदर्पनानि अक्षराणि the words provoke me अविद्यमाना क्षत्रिया यस्मात् महा क्षत्रिया whence can there be क्षत्रियस before the great king (राम), i e no क्षत्रिय can check or withstand his power धिग्जाल्मान् fie upon the rogues Verse 28 यदि सन्ति If they exist, they do exist but why these threatening words to-day? The meaning seems to be — if you concede that the क्षत्रियस exist at all then they will try to check Rāma's power (even if they may not succeed) This is not very happy If we take ते as applied to राम (the plural being used to show respect), the meaning will be — if राम is an unrivalled warrior, let him be so This latter meaning is more in keeping with what follows If राम is an unrivalled war rior, there is no need to use threatening language to-day The threatening words referred to are 'योऽयमश्व घोषणा। सह वीरस्य'. The first line is an answer to the words 'महाराजं प्रति कुत क्षत्रिया' विभीषिका or दिभीषिका—terror, threatening किमुक्तेनेति — what is the use of these words (i e of this talk with you)? हरामि I shall carry off. तां पताकाम्—these words refer to the horse A reads यदि नो सन्ति सन्त्वेव—if (you say) they do not exist (as- regards राम), (I say) they do (exist). The words do not easily yield the sense that is required Some read सन्त्येव for

-IV. 28] UTTARARÂMACHARITA. 143 कल्प्येत. This is very good, if we understand ते as referring to रणेन. Some read केवलमस्या विभीषिका-which means '(Supposing that Râma is an unrivaled warrior) what is the meaning of this threat in addition? V reads किमुक्तेः संनिपत्येव-'why talk with you? After attacking you (I shall carry off the horse)' Ch. reads 'किमुक्तेः शरसम्बाधा'-why talk? (I shall carry off that banner of yours), which will be full of arrows He means that he will attack them and the horse standing in their midst may be riddled with arrows in the fight. लोष्टैर्निघ्नन् striking it with clods of earth. रोहित-a kind of deer वराकः poor, wret ched. चापलू rash act तीक्ष्ण श्रेण्यः lines of soldiers are very sharp (i. e. harsh) आयुधेन जीवतीति आयुधीयः, according to 'आयुधाच्छ च' पा. 4. 4. 14 (चाटुन् । आयुधीयः । आयुधिकः । सि. कौ). The reading तीक्ष्णनिरंसा would mean 'sharp and without feeling. दृप्ताः proud, insolent. दुर्दान्ताः difficult to check or to be subdued. अपूर्वारम्भेन शङ्कित (attracted) इक्ष्व पश्य अनेन सर्पेत run away by this thicket of trees गहनम् thicket कृतमनेनाश्वेन enough of this horse तर्जयन्ति threaten. विस्फुरितानि शस्त्राणि येषाम्-whose weapons glisten or are flourished इतः from this place तदेहि यामहे therefore come, we shall run with the leaps of deer कि .. शस्त्राणि what! do the weapons gleam? धनुराततेश्वन् making his bow ready P. 107 Verse 29 The principal sentence is एतत् चापम् स्फुटत्वि अस्तु let my bow resemble . उद्गारम्, भीषणम् and विदरम् are adjectives of चापम्. ज्या जिह्वा इव (or ज्या एव जिह्वा) तया In the former case there is उपमा, in the latter रूपक. Connect ज्याजिह्वया with कूटदंष्ट्रे in the compound कूटद्धिंष्ट्रम्. This is एकदेशी अन्वय. कूटदिरेव कूटौ कोटी दंष्ट्रे इव यस्य or कोटी एव दंष्ट्रे यस्य ज्या... दंष्ट्रम् the large ends of which, resembling jaws, are licked (lit surrounded) by the tongue-like string उद्गारि (उद्गच्छन्) घोरं घनरवघोषं यस्य- that emits a terrible and thick (reverberating) rumbling noise Or we may explain घनस्य (मेघस्य) इव घोरघोषः यस्य. ग्रासे प्रमत्तः (व्यापृतः) दृप्यन् च अन्तः (मृत्युः) तस्य यन्त्रमिव or ग्रसे प्रमत्तः दृप्यन् अन्तकस्य यन्त्र वक्त्रमिव, तस्य जृम्भा तां विडम्बयतीति-resembling the yawn of the machine-like mouth of the smiling god of death busy in devouring विकट (large) विदर (interior) यस्य. When the bow was strung, a large space (विदर) was left between the string and the bent bow So विकटविदरम् constitutes the reason why the bow is said to be अन्तक... जृम्भाविशिष्ट. When one yawns, the mouth is opened wide. The intervening space of the bow is compared

144 NOTES ON [IV 29- to the yawn of the mouth of death, because it is the bow that is going to deal death to Lava's opponents. For this reason we separate विकटोदरम् from विटपि. The string is compared to the tongue, the two ends of the bow to the two jaws. The bow produces a twanging sound, when one eats hurriedly large quantities of food, a sound is produced. The god of death is said to be smiling, because he is glad to devour the many people killed in battle. This verse is a fine specimen of बीररस. It is one of those verses in Bhavabhûti's works where the sound seems an echo to the sense. This verse occurs in महावीरचरित III. 29. यथोचितं परिक्रम्य walking about as befits each of them. This is a direction to the actors. In some Mss. this Act is called कौसल्याजनकयोग. ─────────────────── Act V. The scene of this Act is laid near the hermitage of Vâlmîki. This Act follows closely upon the incidents narrated in the fourth and hence there is no prelude in it. 15 एष चन्द्रकेतु रुपैति—here comes चन्द्रकेतु. ननु is emphatic. खल्वित्थं यथा तथा सुमन्त्रेण नुद्यमाना (प्रेर्यमाणा ) प्रोद्वेलन्त प्रत्वरिता वाजिन (अश्वा ) यस्य—(in a chariot) the swift horses of which are galloping being furiously urged by सुमन्त्र. सुमन्त्र was the charioteer of दशरथ and so must have been very old. The readings प्रोद्वेलन् and व्यासक्तन् mean the same thing. उत्खातेषु प्रनमित कोविदारकेतु यस्य whose banner post made of the कोविदार tree shook on account of uneven ground. उत्खातम् (lit. dug up) uneven ground. प्रधनम्—fight. 'युद्धमायोधनं जन्यं प्रधनं प्रविदारणम्' इत्यमर. The reading उद्भ्रान्त yields the same sense. सुमन्त्र सारथि यस्य. धनुः पाणौ यस्य. Verse 2. The principal sentence is कोऽप्यय बीरपोत कार्मुकेन समरशिरसि चमूनामुपरि शरतुषारं किरति—this brave boy scatters over the armies a shower of arrows with his bow in the van of the battle. किरति present of कृ 6. P. वपुषि श्री (adj. of पोत) कश्चित् किञ्चित्कोप तेन रञ्जयती मुखश्री (मुखशोभा) यस्य—the beauty of whose face is coloured (reddened) by the slight anger that he feels. वपु is said to have been only slightly ruffled, because he treated with contempt the army

-V 2] UTTARARĀMACHARITA. 145 [opposed] to him. अविरतं गुणे गुञ्जन्त्यौ कोटी यस्य (with a bow) the ends of which unceasingly twang on the string. G. reads प्रविचलत्- गुणे, which is a good reading. Vide com. चलन्तः पञ्च शिखा यस्य— that has his five locks waving (because of his rapid movements in discharging arrows). तुषार snow, spray. वीरपाने पोतधः 'मानपात्रे शिखी पोतः' इत्यमरः. P. 109. Verse 3. The principal sentence is ०शिशुः एकः मे कौतुकं करोति—this ascetic boy, being single-handed, makes me admire him. मैनाकस्येव is to be connected with ०कुशमण्डस्य नव- प्ररोहः who is as if some unknown and new scion belonging to the race of Raghu. The word वंश means both 'family' and 'bamboo'. From a bamboo also spring up fresh shoots. The reading समत्कोपात् is not good. लव as we are told in verse 9 was only slightly angry, while प्रकोष indicates great wrath. N reads अभिनवोद्भेदः which is not so easily construable as the reading in the text. दलिताः करिकपोलग्रन्थयो यैः, तानि व्योचीनि, टङ्कारैः घोराणि ज्वलि- न्ति च शस्त्राण्यस्त्राणि यस्य (adj. of ०शिशुः)—who has (i. e. discharges) thousands of flaming arrows that shatter the hard (knot-like) temples of elephants and that are terrible in their twanging. Verse 4. The principal sentence is शिशुम् एनम् ऐक्ष्य ०मचरितः प्रमाथे धृष्टधनुषं रघुनन्दनं स्मरामि. अतिलङ्घितः सुरासुरप्रभावः येन (adj. of शिशुम्)— that surpassed the prowess of gods and demons. शिशुम् एनम् दृष्ट्वा रूपं यस्य तथैव रूपम् that has similarly a form resembling (that of Rāma). The reading तदेव, of Gh. and V. is bad. एव must refer to चन्द्रकेतु. It does not sound well that on seeing लव resembling चन्द्रकेतु, सुमन्त्र should remember राम. It is quite proper to say that, on beholding लव resembling राम in features, सुमन्त्र should be put in mind of a particular incident in Rāma's career as a boy. कुशिकसुता विश्वामित्रः तस्य मखं यज्ञं द्विषन्ति इति मखद्विषः राक्षसाः तेषां प्रमाथे प्रमथे destruction. धृष्टं धनुः येन. We expect धृष्टधन्वानम् for ०धनुषम् in accordance with 'धनुषश्च' ५. ४. १३२ (धनुषोऽन्त्यस्य बहुव्रीहेरनङादेशः स्यात्। शार्ङ्गधन्वा । सि. कौ.) धनु as the last member of a बहुव्रीहि becomes धन्वन्. But as the rules about the changes that words undergo at the end of compounds are said to be not obligatory we may justify ०धनुषम्. Compare तत्त्वबोधिनी on विश्रुतधन्वेत्यत्र "तथा चाह 'अनन्तरलक्षणमुत्तरपदवृद्धत्वं युगपद्भवद्' इति पुंवद्भावप्रतिषेध इति चेत्, अत्राहुः। समासविधेरनित्यत्वान्नावङ् ।" In the रामायण (बालकाण्ड chap. 31—34) the genealogy of विश्वामित्र is given as follows:—ब्रह्मा-कुश-कुशनाभ-गाधि-विश्वामित्र while in the विष्णुपुराण, we are told that गाधि कौशिक was the father of विश्वामित्र and son of कुशाश्व, brother of कुशनाभ mentioned above. विश्वामित्र 13

146 NOTES ON [ V. 4- says to राम 'कस्यचित्त्वथ कालस्य कुशनामस्य धीमतः । जज्ञे परमधर्मिष्ठो गाधिरित्येव नामतः ॥ स पिता मम काकुत्स्थ गाधिः परमधार्मिकः । कुशनप्ताहमेतेाधिया काशिकी रघुनन्दन ॥' बालकाण्ड 34 5--6 but a descendant of कुश ... ; sacrifice of विश्वामित्र by throwing flesh on the altar, the sage came to दशरथ and begged him to send राम with him for destroying the Rakshasas. See रामायण बालकाण्ड chap. 18--21. The अलङ्कार- सर्वस्व (p. 33) cites this verse as an example of the figure of speech called स्मरण, which is defined as 'सदृशानुभवाद्रस्त्वन्तरस्मृति- र्स्मरणम्' एकः लज्जे my heart is ashamed because many direct their effort towards one (single boy). आरम्भ undertaking, effort. लज् lat. conj. A. to feel shame, with अप. Verse 5 The principal sentence is अय शिशु एकैः बलैः आवृतः --this boy being single-handed is surrounded by the armies. एकैः--'एकाकी विर एकैक' इत्यमरः. मदभरेण may be connected with the word भूरिस्फुरत् in the following compound or it may be connected with आवृतः मदभरेण through the advent (lit the weight) of the intoxica- tion (of fighting). वीर० explains 'मदभरेण वीरपानेन समुत्पन्नचित्तमदा- तिशयेन. भूरिस्फुरन्ति कराळानि करकन्दलीषु जटिलानि (निविडानि) शस्त्राण्येषामिति तेषाम् (adj. of बलैः)--(by my soldiers) that hold in their broad hands (palms of hands) multitudes of weapons that are extremely bright and terrible. कलित (past pass. p. of कल्) taken, grasped. कन्दली the plantain tree (that has very broad leaves). जटिल thick. Most editions read समरभारभूरिस्फुरत्० which means 'wea- pons that flash in the van of battle (lit the ground where the weight of the battle falls)'. This is not a very happy reading. There is no propriety in saying that weapons flashed in the van of battle. क्वणन्तीभिः कनककिङ्किणीभिः झणझणायिताः स्यन्दना येषाम् (adj. of बलैः) the chariots of which ring with the tinkling golden bells. किङ्किणी a small bell. अमन्द (अनल्प) मद एव दुर्दिनं येषां ते द्विरदैः गर्वैः डामराणि भयङ्कराणि तैः (बलैः) that are terrific (or tumultuous) on account of the elephants that shower a thick rut. डामर adj. is derived from डमर a riot, tumult. 'डिम्बे डमरविप्लवौ' इत्यमरः. The reading वारिदैः for डामरैः yields a good sense. In that case the dark and big elephants will be appropriately compared to the clouds and the rut flowing from their temples to rain water. P. 110. एभिः--इमैः. एभिः स्यन्दतैः--what are these (soldiers) to this (boy) even collectively, what then if they are taken separately? आभिन्नप्रजानां ममार मारणम्--the destruction of my men. Verse 6 The principal sentence is वीर मुञ्चूर्णनामभिः विशिखैः. व्यान may be taken as an अव्ययीभाव or as an adjective of ०निशितैः

—V 6] UTTARARĀMACHARITA 147 ॰भूर आगलन्तीभ्य गिरिकुञ्जकुञ्जरगणस्य निर्लीने ( दत्त ) कण्ठज्वर यथा स्यात्तथा ऽवहेन—in such a way as to produce or which produces a feverish sensation (or stunning effect) on the ears of the herds of elephants that were screaming in the bowers of mountains The reading आगुञ्जत् seems to be the original one as in keeping with the अनुप्रास in कुञ्जकुञ्जर But one can hardly describe the trumpetings of elephants as आगुञ्जत् ज्यानिर्घोषम् rattling of the bow string ॰निर्घोषम् is the object of उद्वमदन् आनद्धवद् qualifies निर्घोषन् अनन्द ध्वानम् increased (lit blown or filled) by the loud no se of the drums (beaten by the army) ॰म्युन्मदन् (adj of वार )--giving rise to. बहु निकरै with numbers of moving and awful headless trunks and heads It was said that, even when the head was cut off, the trunk of a great warrior would move about on the battle-field. Compare 'रुधिरदिग्धतनु र्गतकण्ठ सृती विगताननमृतुगमुप । वनात्मनमक्षनुराहत स नृन्यत्कवन्ध समरे ददर्श॥' रगु० 7 51 तृप्यन् कान् (मृत्यु ) वल कराल वक्त्र त्स विकीर्णा वै ॰वारीकवन्तिव 'अमृतं विघसो यद्वेषभोजनशेषयो ' इत्यमर 'विघसो भुक्तशेष तु यच्चायं तथाऽमृतम् ॥' मनु० III 285 वारो माकतिव the warrior makes the ear h as if strewn about with the remains of morsels from the terrible mouth of death after he had been satisfied This is a fine उत्प्रेक्षा The warrior had killed numerous persons, whose heads and dancing trunks were scattered about on the bat le field. They are represented to be the leavings dropping down from the mouth of Death Death is represented as devouring mortals. In this battle so many died that Death was satiated and could take no more and so they lay about on the battle field With विस्तीर्ण for विस्कीर्ण, we must dissolve ॰दृगनु विस्तीर्ण कण्ठव देन or वग्रात् The reading र०ण्ड० is not bad भुज (sc plu) is a good reading. ० reads तृप्यत्का० &c which वीर० very ingeniously explains 'तृप्यन्त्यनेन वीरपराम्परेण मृत्युना लभत्वमभि मुखानि व्यक्तते ' The student will note the alliteration in this verse. The verse contains वीर and अद्भुत रस द्वन्द्वप्रहार hand to-hand fight. वृद्धा grown old in the family of इक्ष्वाकु प्रत्युर गन्व what (other) course is open, when a fight is im pending ! He means that he cannot advise चन्द्रकेतु to desist from fighting with लव through fear of the consequences as that would be derogatory to the traditions of the इक्ष्वाकु race Vide मनु० VII. 87 'मनोदनाधर्नै राजा त्वाहून पलयप्रजा । न निवर्तेत सङग्रामात् क्षात्र धर्ममनुस्मरन् ॥' अपस्कृन्ति retreated P 111. वाग्विषयीभूत has come within speaking distance

148 NOTES ON [ V 6-

भाटावक a herald V reads 'भारपायके' and explains 'रणभूमी उभ- यपक्षप्रधानपुरुषाणां नामकीर्त्तननियुक्ते पुरुषे ' Verse 7 किमे सैनिकै what have you to do with these soldiers ? तेज शाम्यतु let lustre ( i. e valour ) be quenched by lustre Verse 8. निर्म्मनन् destruction उद्भूत challenged इभावलीनामवमर्दात् from the battering ( i. e killing ) of elephants Supply विनिर्वाति or विनिवर्त्तते after शाव At the sound of thunder, the hon thinks that there is an enemy near by mightier than the elephant Compare for the idea 'तृणानि नोन्मूलयति प्रभञ्जनो मृदूनि नीचे प्रणतानि सर्वत । स्वभाव एवो न्नतचेतसामय महामहत्स्वेव करोति विक्रमम् ॥', 'किमपेक्ष्य फलं पयोधरान्ध्वनत प्रार्थयते मृगाधिप । प्रकृति खलु सा महीयस सहते नान्यसमुन्नतिं यया ॥' किरातार्जुनीय 2 21 धीरो क्रम with steady and haughty gait सत्य सि you are truly a descendant of इक्ष्वाकु This is said be- cause he fearlessly invited him to fight with himself. दृरह परागत एव here do I arrive (to fight with you ) साहम्भम् proud ly भग्ना broken i e defeated युद्धाय अभिसरन्ति इति that move towards me for fighting पर्यवष्टम्भयन्ति block or obstruct Verse 9 The principal sentence is अयं कवलत्वं व्रजतु दैरानलेन क्षुभित च वडवावलवद्रुतभृत् (मन्थानल ) तद्वत् प्रचण्ड क्रोध तस्य आर्चिनिचय ज्वालोसमूह तस्य कवलत्वं प्राप्तत्वम् अय मे let this (noise ) fall a prey to the accumulated flames of my wrath as fierce as the fire issuing from the mouth of Vadava, agitated by striking against mountains समन्तादुत्सर्पन् rising from all sides एन दृनरट deep tumultuous and wanton noise पयो इव like the current of the ocean tossed by the winds at the time of Pralaya We have to understand कवलत्वं व्रजति after ओघ In this case the compound दृग० is to be dissolved as क्षुभित वडवावरवद्रुतभृत् प्रचण्डक्रोधाचिनिचय इव तस्य कवलत्वम् वडवानल—The sons of कार्तवीर्य, with the desire of destroying the descendants of भृगु, killed even the children in the womb One of the women of the family who was pregnant secreted the foetus in her thigh (ऊरु), hence the child at its birth was called और्व On beholding him the sons of कार्तवीर्य were struck blind and his wrath gave rise to a flame which threatened to consume the whole world, when at the desire of his Pitris, he cast it into the ocean, where it remains concealed with the face of a horse and is said to devour the waters of the ocean ओव, वाडव and वडवानल are synonyms Compare रघो IX. 80 'अन्तर्निविष्टपदमारमसिन्धुरुद्धतुं शाप दधद्वणन्मोर्वमिवाम्बुराशि ॥' There are mountains in the ocean. Compare भर्तृहरि 'रत्न रत्नाधिप सितरिणा क्या शेरते भङ्गो विमन्नमूर्त्ति भरसहं च सिन्धोर्वपु ॥' At the time of प्रलय the 49

—V 9] UTTARARĀMACHARITA 149 winds begin to blow, the twelve suns rise and the sky is covered with clouds called पुष्कर and आवर्तक See विष्णुपुराण VI. 3. and 4. Verse 10 गुणवन्तो विदारय on account of the excellence of your qualities. कदन slaughter. खलु is emphatic. दशनिकष the touch-stone for your pride. प्रगल्भरूक्ष pleasing and yet harsh (i. e. peremptory). The word प्रगल्भ refers to the first half of verse 10 and रूक्ष to the last line. वाद युद्धे employment of brave words. विकर्त्तन the sun. निर्वेद disgust. कदर्यित troubled, annoyed. It is the past pass. p. of कदर्पयति a denominative verb from कदर्य (कुत्सितं अर्थं कदर्यः according to 'कोः कत्तत्पुरुषेऽचि' पा. 6. 3. 101). वीरोऽयं संवादः (conversation) यस्मिन् विप्रं कुर्वन्ति इति. Verse 11 कौतूहलेन blended with curiosity. बद्ध लक्ष्य देन— whose eyes are fixed (on me). उद्धृत (raised, i. e. strung) धनु- र्यस्य. Vide notes on धृतधनुषम् above. अयम् the subject of धत्त. समुद्धत-मरुद्-वायु-वेन-तरलस्य-सज्वारस्य-मध्यगत-अथ-सापिश्र-चाप (इन्द्रधनुः) हस्तधरः कृपा-दर्शनम् he bears the splendour of a cloud that has the rain-bow and that is rolled about by violent winds from two (opposite) directions. The dark and powerful लव with the bow in hand and wishing to approach चन्द्रकेतु but drawn in the opposite direction by the army at his heels looks like a cloud that has the rain-bow upon it and that is tossed about in two directions. The figure here is निदर्शना, which is defined as 'अप्रत्ययस्तुतन्य च चमत्कारिकः' काव्यप्रकाश X. बद्ध निम्देन I am simply overcome with astonishment. He means that the boy's prowess is so extraordinary that it is impossible for him (सुमन्त्र) to gaze steadfastly and fearlessly at him. It is only चन्द्रकेतु who is not a whit behind लव in prowess that can look at लव on equal terms. भो भो राजन्—the guardians of the horse were not ordinary soldiers, but scions of noble families. Verse 12 This verse contains a fine and perfect antithesis in the first three lines. The principal sentence is बहुस्मिन् पदातौ गत्वद्भियोग्यं युधि गणयन् बद्ध दैन विध्यं धिक्त्वाम्. The instrumentals qualify त्वयि and the locatives एकस्मिन्. संख्यातीते मुख्यश्रेढे beyond number, i. e. numberless. पदातौ—loc. sing. of पदाति a foot-soldier, पदाभ्या अतति अतो इति. अत्र एकस्मिन्-उरे These words should have preceded पदातौ, as संख्यातीते is mentioned first. कवचच्छिदै— covered with armour. मेध्य (holy) चर्मे वरण्ड (upper garment) यस्य. We have already seen that लव was clad —in a deer-skin (Act IV verse 20). वार्डेन वृद्धेषु who are older in years. अभिनव वय सैन श्लाघ्य (मनोहर) रूप यस्य. वोऽस्तु ध्वाम् fie upon you and upon us that you should treat as your equal in

150 NOTES ON [V—12 battle (this young boy). समभरः lit. equal responsibility i. e. equality. Most editions read परिकर., which seems to us to be a conjecture, as the word समभर is not usually met with. बद्धः परिकर means 'that the loins are girt up' i. e. that you are ready and eager to fight. It was against the canons of righteous war- fare as laid down in ancient works that persons riding horses or elephants should attack one on foot As his followers were guilty of this breach of the rules of fighting चन्द्रकेतु says 'दिङ्मोहन्', because it reflected discredit on him as their leader मनु० (VII. 89-93) lays down certain rules of conduct for warriors 'न कन्यासनारूढ न क्लीबं न कृताञ्जलिम्।' 91 (कुल्लूक says 'स्वय रथस्थो रथ त्यक्त्वा स्थन्त्वारूढ न हन्यात्') Similarly भीष्मपर्व (chap 1 verses 27-32) gives the rules settled by the agreement of the opposing armies in the Mahābhārata war. 'रथी च रथिना योध्यो गजेन गजधूर्गतः। अश्वे- नाश्वी पदातिश्च पादातेनैव भारत॥ 29 क्षीणशस्त्रो विवर्मा च न हन्तव्यः कदाचन ॥' 31 उन्माथेन सह यथा स्यात् तथा-with pain (as if he felt insulted at the idea of चन्द्रकेतु that he was not equal to the army opposed to him) कालस्य हरणं तस्य प्रतिषेध तदर्थं for preventing (lit forbidding) the loss of time सस्तम्भयामि I shall paralyse. P. 113 प्रगल्भ bold one (refers to चन्द्रकेतु) आमन्त्रितम्-called, invoked. Verse. 13. व्यतिकर is the subject of हिनस्ति, the object being चक्षु. व्यतिकर mixture, combination भयति हिनस्ति a frightful combination of darkness and lightning assails the eye by first attracting it (lit swallowing) and then leaving it free, though it is fixed steadily (in order to see what is passing). The जृम्भकास्त्र seems to have first produced darkness, then lightning and then sleep आदौ ग्रस्त पश्चान्मुक्त (कर्मधारय) a rj of चक्षुः. तामस अथ तायम. The idea is -the intense darkness produced by the अस्त्र takes away entirely the power of vision (hence चक्षु is ग्रस्त), afterwards there are brilliant flashes of lightning, the eye is now free (मुक्त) to see, but the difficulty is doubled, the eye is dazzled and cannot see on account of the very intensity of light. प्रणिहित fixed, concentrated. हिनस्ति from हिंस to kill 7 conj P अथ then लिखितमिव as if drawn in a picture अविद्यमान स्पन्द यस्य motionless नियतम् adv. surely अतिने (unconquerable) वीर्य यस्य. जृम्भते-to appear, to show oneself, जृम्भू 1 A The first line occurs in the मालतीमाधव IX 54 and X 8 Verse 14 The principal sentence is नभ जृम्भते अवनीयते -the sky is overcast with जृम्भक missiles अवस्तीर्यते is passive present of स्तॄ 9th P. with अव दृश्यामैः and दीप्तिभि qualify

-V 14] UTTARARĀMACHARITA. 151 ... पातालस्य उदरमेव कुञ्जं or पातालोदरे कुञ्जं तस्मिन् पुषितं (सञ्चितं ) तेन दन्तुरानि as black as the darkness collected in the bower in the form of the central regions of पाताल. पाताल as the haunt of demons and sinners was supposed to be full of darkness. ... ज्वलत्खरतरद्रव आरकूट (brass) तस्य कपिशानि ज्योतींषि तद्वत् ज्वलन्ति धामानि येषाम्—whose lustre is brilliant like that of the brownish (कपिश) light of heated and (therefore) sparkling brass. These two lines explain how there is a combination of darkness and lightning (as said above). The second half contains an उत्प्रेक्षा. व्यभ्रद्भिः qualifies शृङ्गैः. कल्पे य आक्षेपः (lit. snatching away, destruction) तस्मिन् यः कठोरः भैरवः मरुत् (वायुः) तेन व्यग्रैः (स्थानान्तरं गतैः) that are dispersed at the time of universal destruction by violent and terrible winds. नीरन्ध्रैः मेघैः द्युतिमद्भिः (विद्युद्भिः) च अन्तराणि कुहराणि येषाम् the caverns of which are brownish in conse- quence of the clouds and lightning closing upon them. कूट-शृङ्ग, a peak. The poet speaks of the विन्ध्य probably because being a native of the Berars, that mountain was familiar to him. The चूर्णकुन्तल spreading darkness and lightning are poetically represent- ed to be the peaks of the विन्ध्य blown away by the Pralaya wind and covered by dark clouds and flashing lightning. We saw above that at the time of प्रलय, 49 winds begin to blow. कल्प—is a period of 1000 Mahāyugas (कलि, द्वापर, त्रेता and कृत con- stitute one महायुग) which is equal to 4320000000 human years. It is equal to a day of ब्रह्मा, the night also being of the same extent. At the end of a Kalpa the whole universe is destroyed. नस्तत्त्वस्य आत्त्वम् acquisition, knowledge. नैव जृम्भकेषु this cannot be so as regards missiles and especially जृम्भक missiles. वाल्मीकि was not known to be a teacher of missiles. Verse 15 दृशाथ—see text p. 11 (the words of दृश्या) and notes there in. सम्प्रदायेन by the instruction given by him (शिक्षानिधौ) as a teacher. सम्प्रदाय means गुरुशिष्यपरम्परा. अपरे others (than विश्वामित्र and राम). प्रचीयमानं सत्त्वस्य (सत्त्वगुणस्य) प्रकाशो येषु—in whom light due to the preponderance of सत्त्वगुण is growing. Accord- ing to the सांख्य philosophers, there are three गुणाः—सत्त्व, रजस् and तमस्. The special characteristic of सत्त्व is light (i. e. knowledge of the truth). 'सत्त्वं लघु प्रकाशकमिष्टमुपष्टम्भकं चलं च रजः' सांख्यकारिका. मन्त्रदृशः seers of mantras i. e. sages. सर्वं पश्यन्ति see all (and can therefore possess the knowledge of missiles even without सम्प्रदाय). परम्परा arrived. प्रतिवीर rival warrior. दिष्ट्या दर्शनेन दृष्ट्या. स्नेह is the inner feeling, while अनुराग is its outward manifestation. Verse 16 The last line contains the princi-

152 NOTES ON [ V. 16— pal sentence ममे रचयति on seeing him my heart concentrates itself (i. e. my heart is attracted by him). The first three lines put forth various possible causes to explain the fact that the minds of the princes are attracted by each other at first sight अवधान (object of रचयति) attention. किमु—indicates 'doubt, con- jecture'. यदृच्छा... किमु is it the accidental conversation (that is the cause of attracting each other's mind) ? संवाद may also mean 'meeting.' It may also mean 'resemblance. Is it our chance resemblance to each other that draws our hearts to one another ? पुराणे वद or is it some ancient friendship thickly formed in a previous life. Sanskrit poets are fond of representing that the mind is drawn by friendships in past lives without being consci- ous of it. Compare 'तच्चेतसा स्मरति नूनमबोधपूर्वं भावस्थिराणि जननान्तरसौ- हृदानि ।' शाकुन्तल V, 'मनो हि जन्मान्तरसङ्गतिज्ञम्' रघु. VII 15. निजो - विदित or is it some relationship with me individually, which is not known to me through the power of fate ? In this there is an anticipation of what is to be revealed later on. भूयसा प्रीति this is generally the nature of human beings that some parti- cular person has ardent affection for some other particular per- son only. रसमयी full of feeling or joy. यत्र राग इति about which worldly men say —it is the friendship of the stars or that it is some influence of the eye. लौकिकानाम्—लोकस्य. This is used as opposed to वैदिक or श्रौत. See महाभाष्य (Kielhorn Vol. I p. 5) 'प्रियतद्धिता दाक्षिणात्याः यथा लोके वेदे चेति प्रयोक्तव्ये यथा लौकिकवैदिकेष्विति प्रयुञ्जते' People say that a spontaneous (and therefore un- accountable) love between two individuals owes its origin to the fact that the planets presiding over their births are either identical or friendly to each other. चक्षूराग (चक्षु +राग )—spon- taneous love is explained by the fact that a person's eye exer- cises as if a charm over the eye of another. उपचार use (of words). The subject of आमनन्ति must be taken to be ऋषयः, because it is in connection with sages that the verb is used and because in the previous sentence ordinary people are mentioned. ऋष मनन्ति the sages say that it is love that is indescribable and causeless. अप्रतिसंख्येय—pot. pass. p. of ख्या with प्रति and सम्. अविद्यमानं निबन्धनं (support or cause) यस्य. There are many readings here. N has 'ह्यप्रतिसंख्येयनिबन्धनं प्रमाणमामनन्ति' which seems to mean 'sages look upon that love as genuine, the cause of which cannot be discussed (or judged)'. G seems to have read 'तद् अप्रतिसंख्येयं अनिबन्धनं प्रमाणमामनन्ति', which means 'sages say that it is authoritative, though not supported by a shastric basis and that it is such as not to be deceived'.