उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

—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'.

-V 17 ] UTTARARAMACHARITA. 153 P 115 Verse 17 अविद्यमान हेतुः यस्य पक्षपातः liking, love प्रतिषिद्धा prevention स सीव्यति It is a thread-formed of affec- tion which sews beings inside (i. e. not so as to be perceptible as ordinary sewing is). Ordinary thread for sewing is made of cotton or silk but this is formed of affection alone. Be- ings are brought to love one another by an inner and unseen working of the hearts. Verse 18 मसृणितं राजपहं तद्वद् कान्तं ( मनोहरं ) तस्मिन्—as lovely as a polished royal fillet. परिष्वङ्गस्य आलिङ्गनस्य अनिष्पादात् पुलका एव कदम्बानि (कदम्बपुष्पानि), उन्मीलन्ति पुलककदम्बानि यस्मिन् in which the erect hair resembling कदम्ब buds have made their appearance. For the comparison of कदम्ब buds and पुलक, see above Act III verse 4°. Or we may take कदम्ब in the sense of समूह. उन्मीलद् पुलककदम्बं यस्मिन् अङ्गम् body. Verse 19 आक्रान्त (प्राप्त) कठोरं दैन येन तस्मिन् किं विना what course is there except the use of weapon in the case of one that has assumed a harsh (fighting) spirit? ईदृश like this ; e. like लव. अयमेव—refers to लव. वीराणां बाधते for the military code of honour which is very stern in its spirit comes against the course of affection. समय conventional rules- दारुण रस (essence) यस्य. किंnu भूयस why do you become pertur- bed in a strange way? Most editions read परेण वर्तसे, which yields a good sense. किंनु वर्तसे why do you fancy something that is strange? But this seems to be a conjectural reading. Verse 20 शम—refers to सीता. लून cut off. प्रसव produce (such as leaves, flowers, fruits). सुमन्त्र was struck with Lava's similarity to Sīta and Rāma. But he supposed her to be dead. P 116 कस्य हेतो:—vide notes p. 99 on the same words. एकत: on one side, in the first place. समनुयतः followed. न अभियुक्तन्ति do not attack. Vide notes p. 100. परिभावन्ते lay down a rule or convention. Verse 21. न्याय्यं right, पादाभ्यामटनम्, according to 'धनरव्यवन्धात्पादिनपैवे पा० 4 4 9". अनुष्ठान action (here getting down from the chariot). मादृश a per- son like me (grown old in the heroic family of इक्ष्वाकु). साहसै- कपरक रसं यस्मात्—of which rashness is the only essence; e. hazardous. तानपिक्ष्या—he refers to राम, लक्ष्मण and his two other uncles or to राम only. पितु दिवसरन् the dear friend of the father (of राम). सुमन्त्र was the friend of दशरथ. अपशयादेषु when there is a doubt about a thing (whether it should be done or not). विमृशति thinks i. e. takes time to reply. एवं मन्यसे what you think is in accordance with your duty. Verse 22 यत'

154 NOTES [ V. 22- refers to चन्द्रकेतु's proposal to alight from his chariot in order to place himself on a level with लव in fighting न्याय proper conduct. वीर पद्धति the mode of warlike conduct अप्रतिरूपम् than which nothing is more fitting अविद्यमानं प्रतिरूपं यस्य It may also mean unequalled. Some read प्रतिरूपम्, which means 'fitting, proper' Verse 23 इतिहास—Vide notes p. 58. The इतिहास here referred to are the रामायण and the महाभारत according to the poet's ideas. But bearing in mind the fact that it is चन्द्रकेतु that is speaking there would be an anachronism if we under- stand by इतिहास the रामायण and the महाभारत. पुराण च—There are 18 principal Purânas. The singular is used to denote the class. The reference seems to be to such Puranas as the वायुपुराण or विष्णु०. 'पुराणं पञ्चलक्षणम्' इत्यमर: on which क्षीरस्वामी quotes the following verse mentioning some of the topics dealt with by Purânas. 'सर्गश्च प्रतिसर्गश्च वंशो मन्वन्तराणि च । वंशानुचरितं चैव पुराणं पञ्चलक्षणम् ॥' धर्म- प्रवचनानि—the expounding of duty, treatises on conduct and law such as मनुस्मृति, which are called धर्मशास्त्र कुलस्थितिम्—family observances or customs. Verse 24 जातम सूनि Dear boy, how many are these days (that have passed) since your father, dear (Lakshmana) the destroyer of Indrajit, was born? It is natural that सुमन्त्र, the charioteer of दशरथ, should think that only a short time had elapsed since the birth of लक्ष्मण अनुतिष्ठति— observes प्रतिष्ठाम् stability or fame. For Lakshmana's killing Indrajit, see युद्धकाण्ड chap. 90 'ऐन्द्रास्त्रेण समायुज्य लक्ष्मणः परवीरहा। तच्छिरः सशिरस्त्राणं श्रीमज्ज्वलितकुण्डलम् । प्रमथ्येन्द्रजितः कायात्पातयामास भूतले॥' 70 71 P. 117 Verse 25 अयि न what permanence is there for our family when the eldest of Raghu's race (i. e. Râma) is with- out stability (without issue). अविद्यमाना प्रतिष्ठा यस्य. अपि स्थिर — these words refer to लक्ष्मण, भरत and शत्रुघ्न, who were to be honour- ed as much as राम. मिश्री भवन्ते the sequence of sentiments in me is of a mixed kind. He means that his heart is tossed by conflicting sentiments of affection for Lava and the spirit of hostility to him; i. e. these two sentiments rise alternately in him. The reading of N मिश्रीदृष्टक्रम is not good. Verse 26 This is one of these verses where the sound is an echo to the sense. The first half breathes the sentiment of affection and hence the words are full of soft letters like न्, र्, द् &c. The second half contains a reference to warlike spirit and hence we have a preponderance of harsh sounds like that of दृ. यथा समुद्गते (उद्गते) इन्दौ कुमुदिन्या आनन्दो भवति तथैव अस्मिन् (चन्द्रकेतौ) (समुद्गते

[V 26 ] UTTARARĀMACHARITA. 155 इति ) मयि दृष्टि आनन्दं भजति कुरुते कामं यस्य desirous of a fight This is the predicate of अयं बाहुः रत्कारेण क्रूरं क्वणितं यस्य सः क्वणितः गुणः ( ज्या ) तेन शुञ्जत् ( अव्यक्तं शब्दं कुर्वद् ) गुरु धनुः तस्मिन् धृतः प्रेमा येन—that has fixed its love upon my heavy bow that is tuneful on account of the string that resounds with a terrible twang रत्कोर is an onomatopoetic word निकर ( स्फुट ) विकराल ( दुष्ट , भयानक इति यावत् ) उल्बणरस ( वीर्यरस ) यस्य—the terrific valour of which is quite manifest N and G read विकच व्रणमुख which is to be dissolved as विकचानि विकरालानि व्रणमुखानि यस्य on which are displayed open wounds that are terrific Or we may dissolve विकचा विकराला व्रणा मुखे ( अग्रे ) यस्य This is not a bad reading We must suppose that Lava had received certain awful wounds in the arm while fighting with the soldiers of चन्द्रकेतु But that does not seem likely and there is no reference to these wounds anywhere else in the drama अहित कल्पताम् may the primeval Boar bring about the defeat of your enemy The suggested meaning ( intended by the author ) is that as Lava was really the cousin of चन्द्रकेतु and not his enemy this blesssing does not in any way touch Lava. पराजयाय कल्पताम् — The result or object for which an act is to be done is put in the dative, according to 'तादर्थ्ये चतुर्थी वाच्या' वार्त्तिक on पा I. 4. 44 आदिवराह — the reference is to the Boar incarnation of Vishnu Why this particular incarnation is invoked for bringing about the defeat of the enemy is not quite clear The commentary quotes a verse giving one reason The reason is probably to be found in the fact that it was first in this incarnation that Vishnu tried to undo the evil effects of the misdeeds of the enemies of the world ( i- e- the demons ) by bringing up the earth from the bottom of the ocean where it had been carried by the demon हिरण्याक्ष Compare गीतगोविन्द 'वसति दशनशिखरे धरणी तव लग्ना शशिनि कलङ्ककलेव निमग्ना। केशव धृतशूकररूप जय जगदीश हरे॥'— We may advance another reason In most ancient works the descriptions of the incarnations of Vishnu begin from the Boar See मार्कण्डे- यपुराण IV 54 The reason of the invocation of Varaha may also be found in the fact that many royal houses had adopted the Boar or Garuda as their tutelary deity on seals and banners as can be seen from the seals on copperplate grants and inscrip- tions In place of this line most editions read 'अजिनं पुण्यमूर्जितं ककुद्मन्तमिव ते महः। नियतं शाश्वतो देवो वाराहः परिपच्यताम्॥'—may the eternal god Varaha grant for your welfare holy, unconquerable and mighty lustre (or power), as for ककुत्स्थ ककुत्स्थ was an

156 NOTES ON [V. 26- ancestor of राम He was the grandson of इक्ष्वाकु His original name was पुरंजय The gods being defeated by the demons, इन्द्र solicited his help He promised to help the gods, if Indra would assume the form of a bull and carry him on his shoulders Indra did so and पुरंजय vanquished the enemies of the gods hence he was called ककुत्स्थ (lit sitting on the hump) See विष्णुपुराण IV 2. P 118 Verse 27 धिनोतु-प्रीणयतु The root is said to be धिन् 5 P to please. मैत्रावरुणि-वसिष्ठ—See notes p 15 Even in the निरुक्त the birth of वसिष्ठ from the seed of मित्र and वरुण is referred to and a Vedic verse is quoted where वशिष्ठ is called मैत्रावरुण "उर्वशी हप्सरा तस्या दृग्तान्मित्रावरुणयो रेतश्चस्कन्द तदभिवादितायेषर्गर्भवति । 'उतासि मैत्रावरुणो वसिष्ठोर्वश्या ब्रह्मन्मनसोधिजातः ।'" (ऋग्वेद VII. 33 11) ऐन्द्रा ते may the prowess of इन्द्र and विष्णु of अग्नि and the Maruts and of Garuda be thine इन्द्रश्च विष्णुश्च इन्द्राविष्णू according to 'देवताद्वन्द्वे च' पा 6 3 26 (इहोत्तरपदे आनङ् । मित्रावरुणौ । मि त्रौ ) When the names of deities form a द्वन्द्व compound the final vowel of the first member is changed to आ In forming derivatives from such compounds, the first vowels of both members undergo वृद्धि according to 'देवताद्वन्द्वे च' पा 7 3 21 (अत्र पूर्वोत्तरपदयोरुभयो वृद्धि स्यात् षिति णिति किति च परे। आग्निमारुतम्) The Maruts are stormgods in the Rigveda. They are often associated with Agni in the Veda e g 'मरुद्भिरग्न आगहि' which is the refrain of Rigveda I. 19 सुपर्णस्य गरुत्स इद इति सौपर्णम् He was the son of विनता and became the vehicle of विष्णु देयात् benedictive of दा ज्याघोष एव मन्त्र देया त्पदम् may the incantation in the form of the twanging of the bowstring of Rama and Lakshmana grant you victory प्रत्यारोप्य-place back को वरणेषु what hesitation can there be as to (using) ones own furniture! He means—चन्द्रकेतु has already said whatever is mine is thine (in verse 0 above). Therefore the chariot you offer is mine. You need not press me so much But I am unaccustomed to driving in a chariot Some explain—Lava is speaking as a Kshatriya and so he calls the chariot &c his proper implements This is not good as we lose sight of the word हेतु (which does not mean 'proper') and of the following sentence वि तु &c अरण्ये सीदन्ति वसन्ति इति अरण्यसदः अनभ्यस्ता रथचर्या येषाम्-not accustomed to the management of chariots अभिष्यन्देत-would flow or melt Verse 28. वय याज्ञिन We also (i. e I) are not in this way obstructors of sacrifices एव says-Rama is a good king I am also not in