उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

-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

158 NOTES ON [V. 30- things धेनुम् कामधेनुम् All welfare follows from agreeable speech. Compare 'प्रियमेवाभिधातव्यं नित्यं साधु द्विषत्सु च । तिर्यक्षु चैवामधुरं प्रियवा- ङ्नश्य न प्रियं ॥' कामन्दकीयनीतिसार III. 26 'सूनृतं प्रिये। सत्येऽथ' रत्नमर- सूनृत adj true and agreeable. Note 'सत्यं ब्रूयात्प्रियं ब्रूयान्न ब्रूयात्सत्य- मप्रियम् । प्रियं च नानृतं ब्रूयादेष धर्मः सनातनः ॥' मनु० 4 138. N reads 'दुग्धे विप्रप्रभृति' which वीर० explains as 'शष्पदे अतिशयेन नाशयति'. P. 130 परिपूत (holy) सम्भार दम्भ The reading of N. परिभूत० (defeated, insulted) is not bad. सुभट means—Lava has been insulted by our soldiers But this sentence is rather abrupt and unconnected with what follows. अभिरूपम् what is right. आर्षेण संस्कारेण with a purity of speech that belongs to the sages. ऋषेः अयं चार्षः संस्कार grammatical purity. 'ससंस्कारवलासी पुत्राभ्यामथ सीतया । कृपेतवोद्दिष्टे सूर्ये रामं मुनिरुपस्थितः ॥' रघु० 15 76, where मलिनाथ explains संस्कार as शब्दशुद्धि By the words आर्ष संस्कार, शुनःशेप refers to such peculiarities in his speech as the use of ह and अभिब्रुवन्ति and the verse 'कामं दुग्धे ३' ०व्यवस्थित विषय यस्य क्षात्रं धर्म are the virtues of the क्षत्रिय class confined to a particular individual only? He means,— should not other persons than Rama aspire to be the greatest among क्षत्रियस विरमा सहसात् desist from excess (from as- serting too much or from too much persistence) विरम्— is to the परस्मैपद, vide notes p. 20 on स्वरतीङ् For the ablative, vide notes p 12 Verse 31 ओजायित स्थित्वा—you have acted like a valorous person. ओजायित past pass. p. from the denomina- tive verb ओजायते (ओजस्वा इव आचरति इति) The सिद्धान्तकौमुदी remarks on the वार्तिक 'ओजसोऽप्सरसो नित्यम्' 'ओजः शब्दो वृत्तिविषये त्यदन्तः। ओजायते।' नात्यन्तय इति you will please not persist (in your conduct) as to the subduer of परशुराम. For the encounter between राम and परशुराम see notes p 21 निर्बन्ध importunity, persistence The reading नाति० इति means 'you should not revile &c उद्भेदात् loud boast. Verse 32 सिद्ध settled. बाहो ० क्षत्रियाणाम् as for the prowess of the arms, that belongs to the Kshatriyas शस्त्र बाह्मस्य—परशुराम who had taken up weapons was a Brahmana तस्मिन् राज् if he (a ब्राह्मण) was subdued, what praise is it for that king? कः means—If a क्षत्रिय conquered a fighting ब्राह्मण whose usual occupation is another, there is no reason for boasting सोन्मादमिव as if with excitement. कृतं परेण enough of repartee Verse 33 कोप्येष ...तार this is some indes- cribable incarnation of a manly person (lit. of a man). वीरो ० यि to whom (i e in whose eyes) even the descendant of Bhrigu is

-V. 33] UTTARARĀMACHARITA 159 ०२० here ध्याता (पूर्णा) महद्भुवनस्य (सप्तसु भुवनेषु समन्तात् महद्भुवनं) अभयमेव दक्षिणा यैः or येषु-(the deeds of राम) by which the gift of safety was completely secured to the seven worlds. यदि वन्- द्यन् if indeed something might be said or 'I may possibly have something to say' अथवा शन्तम् or peace (be to what I wished to say) Verse 34 ते-refers to राम The plural is here used to show mock respect विचार्याय चरितं नेषाम् वृद्धा एते- they are old men and their conduct should not be discussed (criticized). He implies that it is only their old age that commands respect and not their conduct तिष्ठन्तु let them remain apart किं वर्ण्यते what in them is worth describing? Or the word may mean "why describe them" The reading नु वर्ण्यते would mean 'shall I describe them" Some read नु वर्ण्य, which seems to mean 'is their anything (remaining to be said) अकुण्ठ (अप्रतिहत) यश देषाम् सुन्दसी-ताडका Vide notes p 17 for ताडका क्षुद्र हे Even after destroying the wife of Sunda, their fame is unimpeded (perfect), for they are the great ones in the world. A क्षत्रिय should not fight with a woman. राम fought with a woman and killed her लव retorts by saying 'in spite of this you call Rama a great person. यानि द्रीयन्ते as to the three steps that Rama took without turning his face in the fight with the demon Khara आगोपनम् fight. When खर darted towards Râma with speed and ferocity, Rama took two or three steps backwards (possibly to take better aim). 'तमापतन्तं सहसा दृष्ट्वा दृप्तञ्च राक्षसम् । अपासत्द्वित्रिपदं विजिगीषुरजिह्मगम् ॥ ततः प्रहसतास्तेन पदात् समरे खरम् । रामो ददर्श सङ्क्रुद्धस्त्वरमाणमिवान्तकम् ॥' अरण्यकाण्ड 30 23-24 Some read अमुग्धेन यानि (नास्ति कुण्ठोऽपि भय यस्मिन्) which means 'fearless In this case it is ironically employed The reading असाधूनि is how- ever preferable, as it brings out the sarcasm of Lava better in relief It was laid down that a क्षत्रिय should not retreat from a battle Vide मनु० VII. 87 इन्द्रसूनु-वाली While बालि was engaged in fighting with सुग्रीव, राम shot an arrow at वाली and killed him 'ततो रामो महातेजा मार्ग दृष्ट्वा हरीश्वरम् । सशरं वीक्ष्य तं वारणं वालिने व्यसृजद्बुधः ॥ ततो धनुषि सन्धाय शरमशीविषोपमम् । पूरयामास तच्चापं दृढज्यं विस्फार्यन् ॥ ददर्शाथ महातेजा वीरयुग्मं कपीश्वरः । तेनाभिहतो वाली निष्पपात महीतले ।' किष्किन्धाकाण्ड 16 32-33, 35 वालि rebukes राम thus 'पराङ्मुख- शरञ्च क्रुद्धं कोऽत्र शक्तस्त्वया गुरुम् । इदं तु दुष्करं कर्म कृतं निष्कारणम् ॥' किष्कि- न्धा० 17 16 तत्रापि-this refers to retreating three steps and the killing of Vali. The code of the rules of war in ancient India required that a warrior should not attack another already

engaged in fighting with a third person 'नायुध्यमानं पश्यन्तं न परेण समागतम्' मनु० VII 62. It will be seen that Lava selects the three actions in Rama's career that are most open to criticism and charges Rama with having violated the code of honour prescribed for क्षत्रियs. This verse is cited in दशरूपक (I 45) under निरङ्कार. क्षेमेन्द्र in his औचित्यविचारचर्चा points out the impropriety on the part of भवभूति that he should lay stress upon the weak points in the career of the hero of his drama 'अत्राप्रधानस्य रामसूनोः कुमारलवस्य परप्रतापोपशमदर्शिनोदाररसोद्दीपनात् सकलप्र- बन्धजीवितावमूर्तभूतस्य प्रधाननायकस्य वीररसस्य नाट्यवादमसदरणादमरस- मन्वयरहसंमस्कवातिव्यापादनादिनानाविधोपादायमनिपादनेन स्ववचसा करिना विनाशन- ङ्गन् इत्यनुचितमेतत् ।' This is also condemned by the साहित्यदर्पण (VI) 'यत्त्पादतुचितं वस्तु नायकस्य रसस्य वा । विरुद्ध तत्परिहार्यं स्यादन्यथा वा प्रकल्पयेत् ॥ अनुचितमितिवृत्तं यथा रामस्य छद्मना वालिवधः । तन्मोदगवराघवे नोक्तमेव । वीरचरित्रे तु बाली रामवधाऽभ्यागतो रामेण हत इत्यन्यथा कृतः ॥' तातापवादेन भिन्ना मर्यादा येन who has committed a breach of good manners by reviling my father (to my face) प्रगल्भते braggest मय्येव सङ्कट-he has turned his frowning face on me एव has a force of its own. Lava means-'he has no reason to be angry with me, it is rather I who should be angry, being insulted by the escort of the horse' The reading ... is better than the one in the text वीर० explains: This line occurs in the ... their anger has been inflamed. Verse 35 चूडा वेपथु tremor caused by their intense feeling shakes the knot of the collection of their hair. तरलयति denominative verb from तरल ( a ly ) विचित्रा is to be connected either with सङ्कटे or रक्तदल The latter is preferable 'रक्तोऽब्जं कोकनदम्' इत्यमरः कोकनद ( कोशे घनच्छदा नदन्ति अस्मिन् ) तस्य च्छदं पर्णम्. 'दलं पर्णं छदं पुमान्' इत्यमरः रक्तदल become red धत्ते-the subject of this is वक्त्रम्, the object being कान्तिम् Construe अखण्डताण्डवितयोः भ्रुवोः भेदेन वक्त्रं चन्द्रस्य कमलस्य च कान्तिं धत्ते. कान्ति luster, beauty अखण्डताण्डवितयोः that began to dance all of a sudden भेदेन by the knitting सङ्कटं श्यामलम् यस्य-the spot on which is prominent उद्भ्रान्ता भृङ्गा यस्मिन्-on which the bees are hovering. On account of anger the boys knit their brows. Their handsome and round faces with the dark brows knit are fitly compared to the moon with the dark spot prominently visible upon it and to the white lotus on which dark bees are hovering. विटपांकुशाः, वि० वि० विशुद्धांकुशाः

—VI 1] UTTARARĀMACHARITA. 161 Act VI. The scene of this Act is laid in the vicinity of Vālmīki's hermitage The incidents narrated follow closely upon those described in the fifth Act. भरत lays down that a fight should not be represented on the stage and hence the audience is in- formed about the progress of the battle by the intervention of a dialogue between a pair of celestial beings. 'युद्धं राज्यभ्रंशो मरणं नगरोपरोधनं चैव प्रत्यक्षानि तु नाटके नोचितं संनिवेशानि।' नाट्यशास्त्र 18 19 P 122 विद्याधर a semi-divine being possessed of superhuman powers 'विद्याधरा जीमूतवाहनादयः षट्त्रिंशत्कलाविद्याधारिणः' क्षीरस्वामी उद्दीपित... (भरतसार) कण्ठ तेन प्रभास्वरो उद्दीपिता क्षात्रलक्ष्मीः ययोः or याभ्याम्—who have made the splendour of the might of the क्षत्रिय class to blaze forth i. e. who have displayed to the utmost a warlike spirit For क at the end of the compound, see notes P. 6. अवधूतेन उत्थाता दवाग्नयः येषु—at which even the gods and demons are flurried on account of their extreme wonderful nature. विरचितचरितानि heroic deeds Verse 1 The principal sentence is धनुः नियम्य शरान् किरतोः शूरयोः आपोधनं भुवनभीममभिवर्तते— the fight of the brave (boys) showering arrows after stretch- ing their bow rages (goes on) striking terror into the worlds. of शिञ्जार and व्योमहरत्न are adv. of धनु रणरणेन झणत्कारेण क्वणि- तानि संकिन्द्रा यस्य—the small bells of which are jingling and resounding with the twanging sound. If we read काञ्चीकिङ्कि- णीगुणशितम्—we shall have to dissolve as काञ्चीवत् वधूनां तरङ्गेण क्वणि- तानि मन्दक्वणितानि किङ्किण्यो यस्य—that has bells tuneful like the bracelets that jingle on (the wrists of ladies). ध्वनद्...गुण- यस्य सः ज्यागुणभर्गी (धनुषः कोटिः) तया सह करालः कोलाहलः यस्मिन्—in which there is a fierce noise made by the end of the bow that hurts its big string twanging. विचित्र of 'wonderful'. Some read अविरलगुरुघण्टो —whose locks are incessantly fluttering Verse 2 जृम्भते is the predicate of दुन्दुभिध्वनिः. जृम्भितम् has increased or ap- peared. दिशि पदोपरि for the manifold welfare of both (लव and चन्द्रकेतु). दुन्दुभिध्वनिः beating The reading of K. Gh and V. 'हितं भवं च दिव्यम्' is also good. In this case दिव्यम् is to be con- nected with दुन्दुभे. It is usual for poets to represent that the celestial drums are beaten when anything splendid or grand is done by anybody on the earth The text should read मन्द्र (deep, strong) with G It is difficult to explain what is meant by मन्द्रदुन्दुभि प्ररवान्—the subject is पृथवीतल. The student will notice that these two lines are full of alliteration and short

162 NOTES ON [VI 2- syllables, which produce an effect similar to the quick throwing of flowers. अनवरतम् incessantly. अविरत संहति - अविरल मिलितां विकचानां ( प्रफुल्लानां ) कनककमलानां कमनीया ( मनोहरा ) संहतिः यस्मिन्—in which there is a charming collection of full blown gold-coloured lotuses that have been thickly strung together. भ्रमर सुन्दर — भ्रमरतरूणां ( कल्पवृक्षाणां ) तरुणा ( नवा ) मणिसदृशा मुकुला तेषां निकर ( समूह ) तस्य मकरन्देन सुन्दर —charming on account of the honey in the collection of jewel like fresh buds of the celestial trees. P. 123. अकाण्डे विस्फुरिता विद्युत् तस्याः घटा ताभिः कपिशम् tawny with the streaks of lightning that flashes all of a sudden. किं नु खलु अथ—These words are to be connected with the following verse. Verse 3. The principal sentence is किं नु खलु अथ पुटभेदः ( वर्तते ) are the lids (of the eye) opened to day? उज्ज्वल is an adj. of पुटभेदः. त्वष्टु ( विश्वकर्मणः ) यन्त्र तस्य भ्रम्या भ्रान्त मार्तण्ड ( सूर्य ) तस्य ज्योतिर्वत् उज्ज्वलः —brilliant like the effulgence of the sun that was revolved on the whet stone (lathe) of the architect of the gods. ललाट चक्षुषः (the opening of the lids) of the eye of Siva that is on the forehead (i. e. of the third eye of Siva). त्वष्टृ had a daughter named संज्ञा that was married to the sun. She could not bear the light of the sun. त्वष्टृ wishing to take away the superfluous lustre of the sun placed the sun on his lathe, and reduced one-eighth part of it. With the lustre thus taken off, he prepared the चक्र of विष्णु, the trident of Rudra and the other weapons of the gods. 'भ्रमिमारोप्य सूर्य तु तस्य तेजोविशातनम्। कृतवान्त्वष्टा भागं च व्यशातयदथाष्टमम्॥ यत्तत्त्वैष्णवं तेजः शातितं विश्वकर्मणा। त्वष्टैव तेजसा तेन विष्णोश्चक्रमकल्पयत्। त्रिशूलं चैव रुद्रस्य शिबिकां धनदस्य च॥ शक्तिं गुहस्य देवानामन्येषां च यदायुधम्।' विष्णुपुराण III 2. 9-12, see also मार्कण्डे- यपुराण chap. 77. Note रघु० VI. 32 'आरोप्य चक्रभ्रममुष्णतेजास्त्वष्टेव यत्नो- ल्लिखितो विभाति॥' नीललोहित — शिव ('नीलः कण्ठः लोहितश्च केशेष्वितो नील- लोहित इति पुराणम्' क्षीरस्वामी). The third eye of शिव is said to be always closed as otherwise the universe would be burnt. It was by the fire from the third eye that काम was burnt to ashes. It will be noticed that with the reading in the text we have a comparison upon a comparison. The appearance of the sky is represented to be the opening of the eye of Siva which is com- pared to the lustre of the sun. This is not very happy. If we read ऽम्वलन्, (an अव्ययीभाव), the difficulty is not really removed. काम क्षोभ मयः—who was provoked. अप्रतिरूपम् un- equalled. आग्नेयम् presided over by Agni. अग्निः देवता अस्य इति आग्नेयम् according to 'भवेर्ढक्' पा 4. 2. 33. अग्नि पात the falling of

-VI 4] UTTARARĀMACHARITA 153 the streaks of fire Verse 4 मन्दरथानि कबुरितानि (चित्रितानि) केतुचा मराणि (केतवश्चामराणि च or केतुषु चामराणि) येषाम्—the chowries and banners of which were slightly burnt and rendered variegated. ‘चित्रं किमरकल्माषशबलैश्च कबुरे' इत्यमर अपयानमेव have already depart ed When fire was kindled by the missile of चन्द्रकेतु, the celestial beings that were viewing the fight from aerial cars went away N reads क्वणित—producing a murmuring sound. ध्वजा वलीन् the row of banner-posts and the cloth (fluttering from them) नव बन्धूक तरु द्युति तथा समानं निर्मल यस्य—which appears like the splendour of a fresh बन्धूक flower A बन्धूक flower is red शिखी fire Most editions read दधति ध्वजानुकरणैरभितः क्षातोदरच्छुरितविभ्रम भिः—these flames of fire bear resemblance to the applica tion of saffron for a moment on the skirts of the pieces of cloth on the banner posts. क्षा तोदरस्य छुरितस्य विभ्रमस्तद्विभ्रमान् besmearing overspreading In both readings the word इव is rather redundant With the latter reading the idea is — be lurid flames seem to lick the skirts of the banner-clothes The poet represents that the cloths appear for a moment as if dyed with saffron when the flames come in contact with the banners This is a more poetic idea than the one in the text but the reading seems to be a conjecture. प्रवृत्त—this is to be connected with उपधूप उद्धत गुरु —उद्धटं यत्परश्वधदारणं तद्वद्गुरु (दीप्तं ) रवं येषान् ते स्फुटन्तो ये स्फुलिङ्गास्ते गुरु—which is fierce (lit. great) on account of the sparks that are emitted with a sharp sound resembling the awful splitting of the thunderbolt (i. e. resembl ing the clap of thunder ). उद्दाल भैरव—उद्दालः प्रमुखा लेलिहाना उज्ज्वला शिखास्तेषां समाहारेण भैरव—terrible on account of the lines of flames that are unrestrained, fierce, licking (everyting) and bright उद्दाल उद्गतलालायू लेलिहान—present part. of the frequentative base of लिह उपधूप (उदधिं धूपयते इति that is kindled at dawn) fire It is impossible to deal with all the various readings in this passage Some read स्फोटगुरु, दार्यविस्फुलिङ्गुर, which is good उत्सर्पिन् rising up spreading about Some read ०स्फुरत्स्फुलिङ्गगुरु terrible in consequence of the sparks that crack as sharply as &c सन्ताप heat. N reads वसुनेनावच्छाद्य (covering with my garment) This is not good, as the words of the विद्याधरा show P 124 विमल स्पर्शेन by the touch of my lord's body, that (touch) is cool, glossy (pleasing), soft, and fleshy like pure pearls आनन्देन मन्दे मुकुलिते (closed) घूर्णमाने (rolling) लोचने

164 NOTES ON [VI 4- दृश्या whose eyes generally unsteady are rendered dull by joy and are closed. मर्यादितः सन्तापः the heat which I felt but partially has now disappeared. N reads आनन्दसन्दलितघूर्णमाननेद- नाया which is difficult to explain. It seems to mean 'whose pain that made her stagger was destroyed by joy.' Verse 5. This is repeated from Act II. 19. अविरल-मण्डिते-अविरला विशाला घूर्णमाना विद्युत्तया तस्या विलामै मण्डिता तैः adorned by the sportive movements of lightning that is thick, flashing and rolling. अवसीदते is covered. नमः अनुगमिन प्रयुक्तम् employed, वरुणं देवता अस्य इति वारुणम्, according to 'साऽस्य देवता' पा 4 2 24. वरुण is represented as the lord of waters even in the Rigveda. 'यासां राजा वरुणो याति मध्ये ता आपो देवीरिह मामवन्तु ॥' ऋग्वेद VII. 49. 3. सर्वं दोषाय (supply भवति) everything, when in excess tends to produce a defect i. e. too much even of a good thing is not desirable. Compare 'अति सर्वत्र वर्जयेत्,' 'सीते पर्याप्तमेतावद्ब्रूतुं स्नेह- प्रदर्शनं । सर्वथातिदृढं भद्र व्यसनायोपकल्पते ॥' सुन्दरकाण्ड 24. 21. यत् since, The following long sentence contains three poetic fancies. भूतजनं प्रवेपते the mortal world is shivering (on account of the cold due to the down pour of water). प्रलये वातावति तथा क्षोभ- तेन गम्भीरं यथा तथा गुञ्जुगुण्ायमानाः मेघाः तैः मेदुर (निबिड) अन्धकार तेन रुद्धाध्वं यथा तथा नष्टम् इव as if found without any outlet (for escape) by the darkness that is intensified by the clouds that produce a deep rumbling noise on account of the agitation due to the stormy winds at the time of pralaya. गुञ्जुगुण्ायमान् (pres. p.) is an onomatopoetic word. नीरन्ध्र (निः + रन्ध्र). For the winds at the time of प्रलय, vide notes on V. 9. एकवारं विश्वस्य ग्रसन- नेन विकट (विशाल) विकरालं (अतिभयङ्करं) कालस्य (मृत्योः) मुख कन्दर इव तस्मिन् विवर्त्तमानमिव as if rolling in the cavern like mouth of Death that is very terrible and wide open for devouring at one time the whole universe. If Death were to devour the universe at one stroke he shall have to open his mouth very wide. Some read ०काण्ठण्ठमुख०, which would mean रुद्धमुख युगान्ते या यो- गनिद्रा तस्यां निरुद्धानि सर्वद्वाराणि येन स नारायणः तस्य उदरे निरुद्धमिव as if placed in the belly of नारायण who has closed (stopped the operation of) all the portals (of his body i. e. his senses) on account of the yogic slumber that he has at the end of the cycles of years. युगान्त means कल्पान्त, see notes on V. 14 for कल्प. When विष्णु sleeps the whole world is destroyed, and when he wakes up it is created again. Compare 'यदा स देवो जागर्त्ति तदेदं चेष्टते जगत् । यदा स्वपिति शान्तात्मा तदा सर्वं निमीलति ॥' मनु० I. 52. योगनिद्रा state of sleep due to yogic contemplation. योग is defined in योगसूत्र

—VI. 5] UTTARARĀMACHARITA. 165 'दोषद्विषदुदिनिरोध' Compare 'अम्बु (अम्बुराशि) युगान्तोचितयोगनिद्र संहृत्य शेषायुरथोपधिष्ठे ॥' रघु० XIII 6. \ reads भूत विरध-the world dies. Here भूत is used for the whole class स्थाने it is proper वायु देवता अस्य इति वायव्यम् according to 'वाय्वृतुपित्रुषसो यत्' पा 4 2 31. इरन्नू discharged Verse 6 मरुता (वायुना) भूयमानपि घनानां कापि प्रविलय कृत -the clouds though many have been dissolved (dispersed) somewhere by the wind, so not a trace of the clouds is left. विवरूयेन resembling correct knowledge The affixes कल्प, दश्य and देशीय are added in the sense of a little less than ईषदसमाप्तौ कल्प वेश्यदेशीयर पा 5 3 67. ब्रह्मत्व विज्ञानान् as illusory appearances are dis olved in Brahma (by correct knowledge) For the meaning of विवर्त vide notes p 116 There are two philosophical views one is called विकत वाद and the other परिणामवाद According to the विवर्त्तवाद, प्रपञ्च is the विवर्त and ब्रह्म is the अधिष्ठान of it. According to the परिणामवाद, प्रपञ्च is the परिणाम of ब्रह्म as a golden ornament is a परि णाम of gold It seems to us that the word विवर्त is used in the technical sense here and that भवभूति knew the मायावाद, if he was not an adherent of it According to मायावाद, the world is an illusion in a transcendental sense and this illusion will be dispelled by a correct knowledge of the only Reality called ब्रह्म There are Upanishad passages supporting this theore 'वायुर्यथैको भुवन प्रविष्टो रूप रूप प्रतिरूपो बभूव । एकस्तथा सर्वभूतान्तरात्मा रूप रूप प्रतिरूपो बहिश्च ॥ कठोपनिषद २ 5 10, 'मृत्यो स मृत्युमाप्नोति य इह नानेव पश्यति' कठोपनिषद २ 4 10 'यत्र तस्य सर्वमात्मैवाभूत् तत् केन कं पश्येत्' &c 'तद्ब्रह्म वेद ब्रह्मैव भवति' 'ब्रह्मैव सन् ब्रह्माप्येति' The position of शंकराचार्य is contained in the following passage from his भाष्य on Vedantasutra II 1 14 'यथा चाकरकदशानां महाकाशादनन्यत्व यथा च मृत्तूर्णिकोदकादीनामूषरादिभ्योऽनन्यत्वत्, एवमम्य भोक्तृभोग्यत्वादित्रपञ्चस ब्रह्मव्यतिरेकेणाभाव इति द्रष्टव्यम्' सभ्रमा विक्षिप्त कर तेन अन्तेन उत्तादर कृतहस्तेन who waved the skirts of his upper garment with his hand that was raised up hurriedly (to draw the boys attention to him and to make them desist from fighting) मधुर स्निग्ध च वचन तेन प्रतिषेध युद्धव्यापार येन who prohibited the war like efforts (of the boys) by his pleasing and affectionate words. कुमारेणो अन्तरे between the two boys शम्बूकवधात् after killing Sambuka This shows that a very short time elapsed between the events narrated in the second Act and those narrated in the sixth. —Verse 7 सङ्कदितम् (past pass. p used as a noun, according to 'नपुंसके भावे क्तः' पा 3 3 114) speech, words तस्मिन् (महापुरुषे) गौरवे (आदर) उत्साव समुन्मदन सन्प्रहार (युद्ध) येन-that stopped

166 NOTES ON [VI 7— the combat. Some read शब्दं महापुरुषसंविदित—words that were used (i. e. uttered) by a great personage. निष्कञ्चुकम् —Vide notes pp. 64 and 123. This विष्कम्भक is an inferior one. It is marred by bombastic words. It is put in for describing the fight between लव and चन्द्रकेतु. Verse 8. दिनकरकुलचन्द्र— there is a picturesque effect produced by calling चन्द्रकेतु the moon of the sun's family. चन्द्र indicates the power to gladden and soothe. सरभसम् quickly. 'रभसो वेग हर्षयोः' इति विश्वः. तुहिन शीतले cool like a piece of snow. ममापि— अपि is emphatic. Though I am tormented very much the touch of your body will soothe me. In the first line the figure is लाटानुप्रास which occurs when the same word is repeated in a sentence in the same sense but in a different connection. उद्भट defines and exemplifies it: 'स्वरूपार्थविशेषेऽपि पुनरुक्ति फलावहात् । शब्दानां वा पदानां वा लाटानुप्रास इष्यते ॥ स्मितेऽङ्कुरितमन्दा- क्षमन्दस्वानवदस्पदम् । पदं पदमशाम्बय्याः शुचुरप्यारमारमा ॥' उद्भट I. 13 and 14. उत्थाप्य having raised him up (from his posture of lying prostrate at his feet). दिष्ट्याऽद्य परार्द्धं यस्य कुशलं लाभाभ्युदयेन— I am all right having the good fortune to secure (लव as a friend). लाभ एव अभ्युदयः तेन. अलङ्घना क्रिया यस्य whose deeds are wonderful. मामिव पश्यत्वमुं तात may my father look upon him with the same affectionate eye as at me or perhaps more (affectionately) than at myself. अनार्यम् अकुटिलं साहसं यस्य— whose heroism is straightforward (does not partake of trickery). Some read महावीरप्रकाण्डम्—this pre-eminently great warrior. प्रकाण्ड—खण्डम्—the trunk of a tree, but at the end of compounds it is employed to show 'pre-eminence' प्रशस्तः महावीरः महावीरप्रकाण्डम्. 'मचर्चिका मतल्लिका प्रकाण्डमुद्धतल्लजौ । प्रशस्त- वाचकान्यमूनि' इत्यमरः. दिष्ट्या fortunately. अतिगम्भीरा मधुरा कल्याणी च आकृतिः यस्य whose form is very serene, lovely and auspicious. Verse 9. This verse contains five उत्प्रेक्षाs. क्षात्रो वेदः he (लव) is as if the sacred lore of missiles manifesting itself in a body for protecting the worlds. क्षात्रो गुणो he is as if the duty of the क्षत्रिय class assuming a body for guarding the treasure of the Vedas. ब्रह्मकोश. ब्रह्मन् may mean either 'Veda' or 'Brahmanas'. 'वेदस्तत्त्वं तपो ब्रह्म ब्रह्मा विप्रः प्रजापतिः' इत्यमरः. The performance of religious duties enjoined by the Vedas required to be guarded against evil-doers. This was the duty of the क्षत्रियs. Similarly the protection of the subjects (and pre- eminently of Brahmanas who were included in them) was also the duty of the क्षत्रियs. Note 'संग्रामेष्वनिवर्त्तित्वं प्रजानां चैव पालनम्.

—VI. 9] UTTARARĀMACHARITA. 167 —पुण्यानां ब्राह्मणानां च राशी भेदरूपः परम्॥ ननु VII 8 We may either take the third line by itself or understand तनु निव- after समुदय and समग्र. समुदय collection जगत् पुण्डरीकाक्षां (पुण्यकानि) तेषां राशि—निर्माीयते इति निर्माणं कर्म आविर्भूत राशि he is as if the aggregate of the holy actions of the worlds manifesting themselves and standing (before us in bodily presence) Another explanation given by the commentator on the महावीर० is पुण्येर्निमीयन्ते इति पुण्यनिर्माणानि पुण्यप्रदानार्थं कृताङ्गो बहुव्रीहिः' इति कर्मणि णिच् ल्युट्। 'भीमसेना राज्याय' इतिवज्जा पुण्यनिर्मा- ननि वाऽपुण्यनिर्माणानि तेषां राशिरेव This verse occurs in महावीर- II. 41 पुण्ये अनुभावदर्शने (अनुभाव दर्शनं च) यस्य—whose majesty and sight are purifying P 127 Verse 10 अभयम् assurance of safety भक्तिः devotion. आयतन support, abode. The meaning is—राम is a person on whom all rely for safety whom all love and adore The reading धर्मस्य इव सञ्चारः is difficult to explain. प्रकृष्ट सुन्दर he is as if the favour lovely in form of pre-eminent righteousness. भूया सुन्दर The meaning of the second half is—Pre-eminent धर्म as if favoured them who followed it and assumed the form of राम for the purpose of showing its favour to those who had adhered to it and that राम is handsome in form. Or we may take प्रसाद in the sense of 'purity, serenity' The meaning is:—राम has followed the path of pre-eminent righteousness. He is as if the purity or serenity produced by the performance of righteous deeds There is another reading मूर्त्तिसञ्चारः (मूर्ती सञ्चार यस्य) which means 'walking about in an embodied form.' This is not bad. Compare the words used about विश्वामित्र in the महावीर० I 10 'कुरालो देष मेध्याभिरागश्च यक्ष्मोऽपि वा। अथवा बहुना दीर्घ धन्वी वा मूर्त्तिसञ्चारः॥' Verse 11 We must understand the words दृष्टिसन्निहृष्टे in each of the clauses. विरोधो गतः my hostility is put to rest and a feeling deeply full of bliss spreads over me. निभृत सुखेन घनं निरन्तरं पूर्णम् अहम् (अहङ्कारस्य भावः) insolence. प्रह्वयति (प्रह्वं नम्रं करोति)—denominative verb from प्रह्व दर्पं दलयति why possibly am I overcome quickly on seeing him ? यद्वा वा or महदार्यं गुरु there is some indescribable greatness among the great of great value as there is in holy places. महान् अस्य मूल्यं यस्य The दशरूपक (I. 46) cites this verse as an example of धृति. अयम् refers to राम. सहसा एव all of a sudden, at first sight. दुःख हरति causes my sorrow to cease. वर...

168 \t NOTES ON \t [VI 11— ऽमानन् and makes my soul full of affection on account of reason (that I do not know) उपस्नेहयति is a denominative verb अथवा स्नेहन् or to say that it is affection and yet dependent upon some (assignable external) reason is con- tradictory (is a contradiction in terms) व्यपेक्षया सह सम्पृक्ष्य, विनिश्चम्य सापेक्षा सापेक्ष निमित्त is either बाह्य or आन्तर Here it is बाह्यनिमित्त that is meant राम said that there must be some (external) reason why लव should make his heart full of affection, but then he corrects himself. Real affection must always be disinterested, if it springs out of some external palpable motive, it cannot be called real affection, for, as soon as the outward conditions disappear, the so called affection may in that case vanish Hence real affection must spring in some unknown and inexplicable way This very propo- sition is put forward in other words in the next verse and illustrated. This sentence occurs in the मालतीमाधव and is there also followed by the same verse There जगद्धर remarks ऽशक्त्वमौपाधिकस्त्व चेत्येकधर्मद्वयमेकत्र धर्मिणि विरुद्धमित्यर्थः' Verse 12 दति हेतुः some internal and unknown cause links things to- gether व्यतिषजति—present of सञ् I P with वि and अति नान्तर गृहं कार्यकारणमभिधाय कोपीदृशत्या निरूपयितुमशक्य 'विकुरारि न संश्रयन्ते affections do not really depend (or rest) on outward conditions The following lines contain two particular examples of the general proposition पतङ्गस्य = सूर्यस्य हिम(रश्मी) चन्द्र उद्गते उदिते सति This verse occurs in the मालतीमाधव (I 27), where जगद्धर comments 'तथा च तीक्ष्णतरोचिषे योनेरुन्मदलविकासात् जगन्तररोदये पाशणडारणाच्च सहजसिद्ध एव हेतु । इह किं बाह्य कारणं दृश्यते । तदयदृतेऽपि स्वाभाविक एव सइ इति भाव ।' The figure here is ऽर्थान्तरन्यास ममापि तथैव then he is to me the same (as a father) in duty Since चन्द्रकेतु called लव his friend, लव says he must honour राम just as his friend honours him. चत्वार भागिन there are four who are entitled to be so designated by you भवताम् is addressed to चन्द्रकेतु out of respect एवम्व्यपदेशस्य ऽतात्प्रादा इति शब्दस्य भाग असि येषाम् इति० भागिन व मद्धि therefore tell me the particular designation व्यवेहि understand उत्फुल्ल expanding joy दिष्ट्या दृष्ट fortunately this was an auspicious day that dawned upon me in that I saw this king अपरिदृढं not loosely, closely Verse 13 परिणत कठोरस्य पुष्करस्य (पद्मस्य ) गर्भच्छद ( आभ्यन्तरच्छद ) तद्वत् पीन (स्थूल ) मसृण सुकुमारस्य delicate, soft and fleshy like the inner and full grown leaf of a fully ex- panded lotus चन्द्र रस as cool as the moon and sandal juice.

—VI 13] UTTARARĀMACHARITA. 169 ०कर्मणा—refers to राम. अहेतुकस्नेह causeless (disinterested) affection. मया मूढेन but I, a fool, took up weapons to do harm to him (राम). तस्मै द्रोग्धुम्—the dative is used according to ‘क्रुधद्रुहेर्ष्यासूयार्थानां यं प्रति कोपः’ पा I. 4 37 The reading ‘इयं क्वचित्पाठस्त्वयं यदनादरेणाहं यविष्ठत्वादस्तो दुर्योगः’ means ‘I being a fool became hostile to him so that my hostile conduct went so far as to take up weapons against him This reading is not good The meaning of दुर्योग is not quite clear. Moreover तस्मै अभिद्रुह्यन् is incorrect. क्रुध् and द्रुह् when preceded by a preposition govern the accusative and not the dative. क्रुधद्रुहोरुपसृष्टयोः कर्म पा I 4 38 क्षमस्व forgive बालिशता foolishness P 129 आविष्करणं making manifest i. e. proclamation वीरचरितम्—वीरवत् आचरितम्—past pass. p. of वीरायते. Verse 14 स .. कृतक that is his peculiar character, which is not assumed (i. e. is innate) as it is necessitated by his very nature प्रकृत्या नियतत्वात् नियतं settled or fixed, न कृतकं अकृतकम् The idea is that bravery is innate while insolence can very well be assum- ed. अकाण्डम् adv. incessantly. किन्त्वा वमति why does the fire stone give out (lit. vomit) heat as if it were insulted? This is a fine and appropriate illustration. As the fierce lustre of the sunstone is really derived from the sun, so the valour of Lava is but derived from his father Rama This is what is suggested by the poet. जाज्वल्यमा० = अत्युत्कटस्फुलिङ्गमर्चिषा The figure in this verse is अर्थान्तरन्यास. Compare भर्तृहरि ‘यदेतेन नेऽपि पादैः स्पृष्टः प्रज्वलति सवितुरिनकान्तः । तद्वन्तो पुरुषः परकृतविकृतौ कथं सहते ॥’, ‘तेजोमयः परं पदोपारोपणया प्रव्यथते स्पृष्टोऽपि हि रवौ स एव स महीयसः सहते नान्यसमुन्नतिं यदा ॥’ किरातार्जुनीय II. 21 अमर्ष non- endurance i. e. jealousy. विदधत्पवन नियुक्त (employed) जृम्भणास्त्र- देन निष्कम्प यथा तथा स्तम्भितानि—that were paralysed by the जृम्भक missile so as to be motionless &c. संह्रियन्ताम् let it be with- drawn. निस्पन्दानि च तानि मन्द्व विजिह्मीनि that cannot exert themselves and hence are dismayed (or ashamed). ‘शिष्यो विस्मापयिष्ये’ इत्यत्र सम्भवं वदति—This is a fine device used by the poet to send away चन्द्रकेतु and leave राम and लव alone. प्रणिधान concentration. नाटयति represents on the stage. रहस्यानु- गतं रहस्यमयी प्रयोगोपसंहारी यैस्तान्—the discharge and withdrawal of which are accompanied (i. e are effected) by charms – साम्प्रदाय० have a tradition i. e. are handed down from teacher to pupil. Verse 15 This occurs in the first Act. Vide notes p 18. न्येशा (अभ्यास) तथा तेषां परायणं (complete study) न्याय 15

170 NOTES ON [ VI—15 उपनिषद् (रहस्य) ताम्—the secret of the thorough understanding of the mantras relating to these (weapons) सहस्रात् परा वर्ष सहस्रा सवत्सरा तान् अन्तेवासी तस्मै to him who was his pupil for more than a thousand years गुरु क्रम this is the successive order of teachers in former times When we take the reading of N given in the footnote the word अधिक seems superfluous परिचर्या सेवा तस्यां निरत (devoted) कुत from what teacher? स्वत प्रकाशानि they manifested themselves प्रकृष्ट पुण्य तस्य परिपाके उपादान (कारण) यस्य—the cause of which is the ripening of a great degree of holy merit. Compare ‘पुण्यप्रसादोपादान एवैष महिमा’ (text p 43) देववचन—this refers to the word आद्यो in Lava's speech दाण्डायन- the same pupil of वाल्मीकि who appears in the विष्कम्भक to the 4th Act He seems to have been the chief among the pupils of वाल्मीकि Verse 16 नरेन्द्र refers to राम विभाथ सवेति— do you say that it is so? We are to suppose that the person addressed is behind the scenes अधिराजशब्द the title of sovereign lord शस्त्राणि एव शिखिन अग्रय He means that he is powerful enough to vanquish even the mightiest sovereign in the world Verse 17 इन्द्रमणिवत् मेचकः नीला छवि यस्य यस्य—whose complexion is dark blue like that of sapphire यद्धा युक्ता यस्मिन् नव नील नीरधर मेघ तस्य धीर गर्जित तस्य क्षणे बद्धा कुङ्मला यस्मिन् स व्यकुङ्मल कदम्ब तस्य इव डम्बर (शोभा) यस्य—that (I) resemble the Kadamba tree that puts forth buds the moment there is the deep thunder of a fresh blue cloud The रोमाञ्च is compared to the buds of the कदम्ब tree For the budding of the कदम्ब tree, see Act III 42 and notes thereon We may also take क्षण in the sense of festival and dissolve इन्द्रणिममेव क्षण तेन बद्धा But this is not so good as the first explanation. This verse is a fine example of भवभूति's skill in making the sound seem to be an echo to the sense भरताग्रजात्—see text p 109 P 131 साह्लाद रहस्यन् twanging his bow with a meaning look, with joy and courage. Verse 18 The principal sentence is यदि आदितैर्नृपखिभि विमद (स्यात्) तत एतत् मम धनु धरुम्—If I can fight दक्षिणे, मा दक्षा the son of Vivasvat (the sun) gave the boon of safety to Indra. अभयमेव दक्षिणा अभयदक्षिणा, इन्द्रस्य अभयदक्षिणा यद्धा दक्षिणा, दत्ता दक्षिणिना ये आ सातो —आ (meaning 'up to') is a कर्मप्रवचनीय in the sense of मर्यादा and अभिविधि and governs a noun in the ablative 'आङ् मर्यादाव- चने पा 1 4 89 (आङ् मर्यादायामुक्तार्थे स्यात् । वचनेनग्रहणादभिविधोरपि । त्रि

-VI 18] UTTARARAMACHARITA 171 'र्थे । विना तेनेति मर्यादा । सह तेनेति अभिविधि । तत्वबोधिनौ ।) and 'पञ्चम्यपा- ङ्परिभिः' पा २ ३ 10 (एतैः कर्मप्रवचनीययोगे पञ्चमी स्यात् । आ मुक्तेः संसारः । सि कौं ) वैवस्वतमनु- Vide notes p 81 Ancient legends narrate that the kings of the solar race such as दशरथ helped Indra against demons. मन्थरा says to कैकेयी 'पुरा देवासुरे युद्धे सह राजर्षिभिः पतिः । अगच्छत्त्वामुपादाय देवराजस्य साह्यकृत् ॥' अयोध्याकाण्ड ९ 11 आदित्य - अदितेः अपत्यं आदित्य ( अदिति + affix ण्य) according to 'दित्यदित्यादित्य- पत्युत्तरपदान्ण्यः' पा ४ 1 85 दापितः तेजः क्षत्रप्रतापः एव अग्निः यैः -who set the fire of their martial valour ablaze. दप्ताः ज्व (adj. of धनुः )- दीप्तानां अस्त्राणां स्फुरन्त्यः तप्ताः दीप्तयः तासां शिखाभिः (अग्रैः) नीराजिता ज्या यस्य-the string of which has the end of the flames of the flashing and hot rays of the glowing missiles waved round it. नीराजित (Mark the Marathi नीराजन )-past pass. p. of राज् causal with निर्-to perform the ceremony called नीराजन to illuminate नीराजनम् waving lights before an idol as an act of adoration, also a kind of religious ceremony performed by kings or generals in the month of आश्विन before taking the field. क्षीरस्वामी derives नीराजन as 'नीरस्य शान्त्युदकस्याञ्जनं क्षेत्रोन्नमार- जनं, मधोस्तथा वाजिनायुधादेर्निःशेषेण राजनं वात्र' It will be noticed that G takes तत् to mean विस्तृत. तत् must then be connected with विष्फार, which is bad as the words भव्य मवेतनू intervene which are to be construed with धनुः विकत्थन्ते proudly Verse 19 गृहीत तृणवत्सारम् येन-which looks with contempt (lit treats as grass) upon the essence of the power of the three worlds धीरोद्धतैरीदृग् his gait which is firm and proud as it were bends the earth धीरा वानी उद्धता च गुर्वा weight This is quoted in दशरूपक (II. 11) under विलास यत्किञ्चिदेतत्-it is insignificant. स्निग्धव्यापारे -Verbs having the sense of 'affection', 'hatred' govern the locative of the person to whom the feeling is shown उत्कण्ठते हृदया is eager for your presence उत्कण्ठ् is a denominative verb from उत्कण्ठ and governs the dative or genitive of the object desired. सन्निकर्ष contact गोप्तादितः protector आकाङ्क्षणीय पुण्य दर्शन यस्य whose holy sight is to be wished for उपगन्तव्य is to be approached. संप्रधारयामि I do not understand. गुरुः elderly person. उपरुन्धेन-उपरुन्धेन सख्येन नियुङ्क्ते treats me as a friend (lit approches or honours me with friendship). For the आत्मनेपद, vide notes p. 8 तेन राजर्षि therefore, on account of that relation (of mine) to him (i.e. चन्द्रकेतु), this royal sage is a father (to us) in duty (by courtesy) राम, being as a father to चन्द्रकेतु who looks upon लव as his friend, is like a father to both गुरु and लव The

172 NOTES ON [ VI 19- spectators must have been very much amused by this speech, for लव looks upon राम as his धर्मतात when he was really his तात. संग प्रश्रय humility though towards a क्षत्रिय, is not in this case censurable To bow down before a क्षत्रिय was to acknow- ledge his superiority in arms This कुश could not bring himself to do But to respect him as a father did not cast any slur upon his martial spirit आकार अनुभाव गाम्भीर्य च तैः सम्भावितानां विविधानां लोकोत्तराणां सुचरितानां अतिशयः यस्य—the excess of whose various extraordinary deeds was to be gathered from his form, majesty and serenity Verse 20 प्रासादिकं रूपम्—a form full of serenity. स्थाने वृतन् It is but proper that the poet of the Râmâyana transformed the goddess of speech (as a poem with reference to राम) व्यवीवृतत् causal aorist of वृत् with वि This is the best reading The word विवर्त is derived from वृत् with वि and we have seen that the poet calls रामायण the विवर्त of शब्दब्रह्म (text p 36) A reads अवीवृधत् (causal Aorist of वृध्) which means increased The reading अवीवृतत् (though from the root वृत्) would mean 'brought into existence,' which is bad here P 133 Verse 21 अमृतेन (जलेन) आध्मात जीमूत (मेघ) तद्वत् स्निग्धं संहननं (वपुः) यस्य—whose body is glossy like the cloud full of water 'अम्बु च घनामृते' इत्यमरः 'गात्रं वपुः संहननम्' इत्यमरः The reading प्रसिद्धसंहननस्य is not bad. It means 'having a body like that of the lion 'वराङ्गरूपोपेतो यः सिंहसंहननो हि सः' इत्यमरः परिष्वङ्गाय उत्कण्ठते—vide notes above on उत्कण्ठते अय जन this person: e. I. The first half occurs in महावीर० II 46 किम दारक is this boy my child? Verse 22 This verse constitutes the reason why Râma asks 'किमप्ययमय दारक ' The principal sentence is in the fourth line यद् धेये अमृतमयी लता सिञ्चतीव since he bathes my limbs at (the time of) embrace with a stream of nectareous juice अङ्गात् देहसारः he is as if the very essence of my body due to my affection, flowing from each limb It would be better to read निजः सङ्गजः A reads 'निजो देहतः स्नेहसारः' which means 'the essence of my affection produced from the body' This is not good The words अङ्गात् देहाद् सून show that we require देहसारः and not स्नेहसारः Com- pare the Rik verse 'अङ्गादङ्गात्सम्भवसि हृदयादधिजायसे। आत्मा वै पुत्रना- मासि स जीव शरदः शतम् ॥ quoted in the निरुक्त (chap III) चेतनाधातुरेक the one ingredient (of me) e: consciousness (of life) He means—I am compact of various elements He is as if my soul itself that has gone out of me and stands

outside, the other elements such as the blood and bones rem- aining within me The reading ध्यातुःरेव is not bad It virtually comes to the same thing सान्द्र (घन) आनन्द ऽनेन क्षुभित हृदय तस्य प्रस्रवेण इव स्रुत as if sprung from the exudation of my heart that is agitated by intense delight V reads गाढरेव &c as in the footnote which means 'he whom I embrace closely, indicates to me that I am as if sprinkled over with dew (or snow) गाढ मालेप दस्य ऽनन्यव beats hot on the brow (forehead) दृग्भ्यां पश्यतीति (उपपद समास) according to 'अमूकूल भाष्योन्मिथिषो' पा ३ २ ३७ (अमूला-या राजदारा । दृग्दृशौ वृत्त । सि कौ) and a nasal is inserted after दृग् in accordance with 'अरुर्द्विषद जनस्य मुम्' पा ३ ७ (अग्भो द्विष्टो-जनस्य च मुमागम स्यात्खिदन्त परे । सि कौ ) वृक्षस्य छाया वृक्षाछदम्-छाया becomes छाद as the last member of a तत्पुरुष when thick shade is intended 'छाया बाहुल्ये' पा २ ४ २२ (छायान्तस्तत्पुरुषो नपुंसक स्याद्वहुत्वप्रतिपादकबाहुल्ये) Verse 23 प्रश्रयोयोगेऽपि although there is modesty in them स्थिति standing, posture साम्राज्यमुन्नति सूचयन्ति इति that indicate universal sovereignty (in future) चेष्टा =क्रिया actions, movements राम first felt ecstatic at the sight of लव and कुश and now he notices characteristics of sovereignty about them. Later on he observes several other marks that lead him to suspect that they were his sons the last and most decisive being the possession of जृम्भकास्त्र 'भावः सत्तास्वभावाभिप्रायचेष्टान्मजन्मसु' इत्यमर P. 134 Verse 24 वपुषा सहोत्पन्ना ये निष्ठाश्च कान्त्या कान्त्याभिनि प्रत्येकम्, कमनीया मनोहराम् वपु इन्धन्ति the graces of their beauty, which are inseparable from their body and innate, present (or unfold) a complexion that is charming in each part (or at each moment) वीरो take वपु as an object of उद्दयन्ति This makes the construction more difficult as there is another object कान्तिम् Some read ऽअकृत्रिमेति which means 'not made (i e. not artificial) and natural प्रति नीदन् ade in such a way as to be charming in each part The reading of V 'प्रतिदन्त' is probably a mere guess. If we read कान्तिमिन्धन्ति, we must take वपु as the object of इन्धन्ति and कान्तिम् as qualifying वपु इन्धन्ति-Indicate or adorn अमलिन मकरन्द just as the rays of the moon unfold the spotless moon or as the drops of honey the fully expanded lotus Connect दृष्टान्त with the following line मरकतस्य इमे भासराः Most editions read रत्न रत्नदमने मनोज्ञा-just as those charming rays unfold the jewel This is not so good as the text. शादा-कर्दम Verse 25 कठोर (full