उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

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

174 NOTES ON [ VI. 25— grown) पाण्डवतः तस्याः कण्ठः वडन् मेचकं नीलं (only of वपुः ). Supply अस्ति after वपुः वृषस्य स्कन्ध इव सुबन्धुरौ अंसौ यस्य—the shoulders of which are well-developed like the neck of a bull. ‘वन्धुरं तून्नतानतम्’ इत्यमरः बन्धुर adj. what is muscular or well developed. Compare ‘व्यूढोरस्को वृषस्कन्धः शालप्रांशुर्महाभुजः’ रघु० I. क may optionally be added to almost all बहुव्रीहि compounds, N reads वपुः—रासयोः, which must be taken with अनयोः above. Some read वपुर्वैरागन्ध्य- नवन्धुरामरम्, which involves tautology प्रमत्त...वीक्षितम् their look is as steady as that of a pleased lion. मङ्गले साधु मङ्गल्यं गूढह्रः गम्भीरः सागरः (deep) न धृति not only does their form resemble mine (but also that of सीता) Verse 26 तत्तद्रूपम् those various points of resemblance सदृशरूप adj. similar, n. resem- blance निपुणेन उन्नेयम् to be inferred by cleverness निपुणस्य भावः नैपुण्यम् ननु indeed पुरोवि—he says so because he had abandoned सीता twelve years before and because he supposed her to be dead गोचरीभूतमक्ष्णो has come within the range of my eyes This is the predicate of आस्यम्. अभिनवं शारदं (कमलम्) तद्वत् श्रीर्यत् (शोभावत्)—this qualifies आस्यम् ‘सहस्रपत्रं कमलं शतपत्रं कुशेशयम्’ इत्यमरः Verse 27. Separate सुन्दरा इव (ओष्ठमुद्रा) शुद्धाः (white) अच्छाः (clear) दन्ताः येषां छविः (कान्तिः) तया सुन्दरा ओष्ठमुद्रा the shape (lit. cover, seal) of the lips. स पाशः (they have) the same fascinating ears (as those of सीता) पाश at the end of compounds expresses 'beauty' or 'collection', कर्णपाशः, केशपाशः, प्रशस्तः कर्णः कर्णपाशः नेत्रे रक्तनीले although their eyes are red and blue (while those of सीता were not so). Being warriors their eyes were red. वीर० explains 'अनयोः रक्ते सीतायाः नीले एव'. But this does not seem right. As in the case of the other adjectives रक्तनीले must refer to the boys only. सीता इव still the beauty is the same (as that of the eyes of सीता) द्वात्रिंशतेन अनुषूपित (inhabited) वयः age (i.e. 12 years) यदपि शृणोमि as to the fact that the missiles have manifested themselves to them, I ponder over it (I cannot explain it) अपि स्यात् Is it possible that the permission (to pass to the offspring) which I gave to the missiles at the time of viewing the picture has taken effect (lit. has mani- fested itself)? See for this incident text p. 12. प्रमहे मय प्रागधि- गतं अथाध्यापितानि passing without instruction (from a teacher) अर्थः संशय्यते—this sentence is variously read The reading adopted in the text is the best. अथ—दृम्भयते this excess of the happiness of my heart gives assurance to my soul that is float- ing (upon doubts). विशम्भयते makes one confident He means—my soul is puzzled as to whether these boys are my

-VI. 27 ] UTTARARĀMACHARITA. 175 ॰स्तन But one fact is quite clear. In their presence my heart feels blessed, and that assures me that they must be my sons. The reading of B hardly yields any sense. विस्मये विप्लवमानं प्रादुष्करोति अतिशयं यस्य that has an excess of pleasure and grief floating on (i.e. mixed with) wonder. विप्लवम् delusion. This seems unconnected with what follows. यद्वा यत् that they are twins very greatly coincides with (what was felt by) myself. समतासादं (agreeing with, coincidence). भूयिष्ठ - मासीत् I very often felt that the foetus of the queen (माता) was made up of two parts. G seems to have read with B जलबिन्दु- विद्धो हि देव्या &c. साश्रम् with tears. Verse 28. पुरा - for- merly when affection (between us) had taken deep root and had grown with the growth of our familiarity. रसो दृष्टः - connect this with गभीरस्य - of her who, though in a confiden- tial mood being in privacy, had eyes dull (i.e. half-closed) owing to natural bashfulness. मुग्धा लज्जा तया जड़ा दृक् यस्याः सा दृष्टा तस्याः. करतलेन परामर्शः तमभ्यस्य (विद्यया, चातुर्येण) by my skill in feeling with the palm of my hand. तदनु - after that. दिनेषु तया by her (it was known) after some days. Verse 29. Construe अम्भःकणैः व आमन्दं ॰सिक्तस्य पुष्पधन्वः चण्डः ददातु बाष्पबाणैः नक्तम् अवश्यायेन अवसिक्तस्य sprinkled with dew. 'अवश्यायस्तु नीहारस्तुषारं तुहिनं हिमम्' इत्यमरः. Verse 30. किमिह परं what possibly is not painful to the lord of Raghu's race? This means that everything is painful. This shows that the boys had been kept in the dark as to their relationship with राम and सीता. The whole mystery is unravelled in the seventh Act. तादृक् of that sort, i.e. so great. अनपेक्षस्वभावतया तेन तस्य व्यापारः their talk is indifferent i.e. they speak of सीतादेवी and do not call her their mother. मुग्ध foolish. हो विकारः what means this thy sudden and excited feeling? परितुरः = चतुरः. B reads समुन्नह्यद् which वीर० explains as 'उन्नामयन्तीव दुर्निवारमनोरथानाम्'. नितान्तं हृदयस्य आवेगं दत्त्वा the excitement of whose heart has broken out, i.e. has manifested itself. भवतु ॰यामि well, I shall change the topic. सन्तानयति is a denominative verb from स- न्तानयति वाङ्मयं the flow (out-pouring) of the genius of Vālmīki, which is a pageant of the solar race. यत् यत् he turned round i.e. studied. मुनिनोपदिष्टं that strike my memory that I remember just now. It is to be noted that मुनि does not say वाल्मीकिना but simply बहुना॰. वर्मी is vocative. Verse 31. 32. For चिराय &c. N reads पुरोदृष्टस्तारुण्यं प्रथममुदयद्द्रव्य ... रूपे the qualities of her form (i.e. external charms). दृप्तं वराङ्गम् beau-

176 NOTES [VI 32- their hearts alone knew their mutual affection. These verses do not occur in the extant edition of the Râmâyana exactly as they are given here. Probably भवभूति did not mean to quote the very words but only the substance. In the बालकाण्ड we find the following ‘प्रिया तु सीता रामस्य दाराः पितृकृता इति । गुणाद्रूपगुणाच्चापि प्रीतिर्भूयोऽभिवर्धते ॥ तस्याश्च भर्ता द्विगुणं हृदये परिवर्तते । अन्तर्गतमपि व्यक्तमाख्याति हृदयं हृदा ॥’ बालकाण्ड chap 77. 26. 27. हृदयमर्मणि उद्घात प्रहार. निरन्वय (नास्ति अन्वय यस्मात्) विपर्यास तेन विरसा इति येषाम्—that are painful (lit. tasteless) on account of sudden changes (reverses). निरन्वय lit. unconnected, i. e. sudden. विप्रलम्भे (वियोगे) व्यवस्यन्ति इति व्यवसायिन that end in separation. तापयन्ति वृत्तान्ता worldly affairs torment (a person). He means that in the world all goes on well for a time, then there is a sudden reverse of fortune and separation from beloved persons follows. This causes great torment. The idea is similar to the one contained in Act IV. verse 15. The reading of N. is not easy to explain. तावका refers to सीता. निरन्वयविपर्यासेन विप्रलम्भे स्मृतौ च व्यवस्यन्ति इति—that end in separation and remembrance on account of sudden reverses. Sudden reverses of fate leave us nothing but the memory of that happiness which we once enjoyed. P. 138. Verse 33. नास्ति अतिशयः यस्य सः निरतिशयः विश्रम्भः तेन बहुल abounding in excessive confidence. Supply क्व गताः after आनन्दः i. e. गहनाः कौतुकरसाः where are those intense admiration and delight? We may also explain रमः as longing. स्फुरति हृदयम्—the idea is the same as that in ‘अनेन सुहृद्दुःखदो’ तथाप्ये रमते still this life throbs and the wretched one does not perish. Verse 34. प्रिया व्यथम् I have been put in mind of that very time which is painful to remember and which is capable of simultaneously bringing before me thousands of the qualities of my beloved. राम means that he is made to remember the happy days passed in the company of सीता who possessed numerous good qualities. ‘दक्षे तु चतुरपेशलपटवः’ इत्यमरः. पेशल also means ‘soft, delicate’. Some read क्रमोन्मीलन० which is not good. It is better to say that all the qualities of सीता crowd them- selves in Râma’s memory and make his loss appear the heavier. The reading दुरसहः is bad. Those happy days are not unbearable, but it is the remembrance that is unbearable. Verse 35. यदा and यत्र are to be connected with the word काल in the preceding verse. Construe यदा यद्विधैः अहोभिः

---VI 35] UTTARARĀMACHARITA. 177 ... चित्रकविकुत्वरदं शृङ्गारश तत् स्तनमुकुल इवविकारे आनीइ कृत पदं येन- that had established themselves i e made their appearance स्तन मुकुल इव वयः स्नेह आकृत च तेषा व्यतिकर तेन घन प्रच्छन्न व्यापार मुग्ध वयः--वपुषि at which time love, being intense on account of the combination (व्यतिकर) of youth, affection and emotion displayed itself boldly in the mind, but was mild in its operation on the body The idea is —at that time the minds of both of us were full of the ardent passion of youth, but on account of the restraint expected from young persons, outwardly we showed very few signs of the inner passion raging in us. मद विहारे at the time of sporting in the river मन्दाकिनी in the forest of चित्रकूट As to the location of चित्रकूट, vide notes p 26 As चित्रकूट was about ten krosas from प्रयाग, मन्दाकिनी does not seem to be the Ganges, but some small river near चित्रकूट 'अथ शैलानिष्क्रम्य मैथिलीं कोशलेश्वरः । अदर्शयच्छुभजला रम्यां मन्दाकिनीं नदीम् ॥' अयोध्याकाण्ड 9*, 1 Further on मन्दाकिनी is called गिरिनिम्नगा 'तां तदा दर्शयित्वा तु मैथिली गिरिनिम्नगाम् । निषसाद गिरिप्रस्थे सीतां मांसेन छन्दयन् ॥' अयोध्या 96 1 Verse 36 विटस्त placed शिलापट्ट slab of stone यस्य अमिन round about which. We expect rather यमभितः according to the वार्तिक 'अभितः- परितःसमयानिकषाहाप्रतियोगेऽपि' on पा 1 4 48 केसर-वकुलवृक्ष A reads आयत for ससत which means 'long' This verse does not occur in the अयोध्याकाण्ड, where Rāma's stay on the चित्रकूट is described वीर० says 'अय श्लोको रामायणपुस्तके नप्रक्षिप्त इति वदन्ति' मुग्धा कराभू-see com. for the propriety of the words used here अत्रि चर boys are very simple and especially those that dwell in a forest. स्मरसि प्रदेशस्य-the genitive is used according to 'अधीगर्थदयेशा कर्मणि' पा II 3 52-verbs meaning 'to remember' and the verbs दय् and ईश् govern the genitive of the object. वास्त क्षिन that witnessed the excess of our confidences at that time Verse 37 The principal sentence is (तव) मुख (मया) उत्प्रेक्ष्यते I now call up before my mind your face मना भवत् (separate word)-this is an adj of मुखम्- becoming cool in consequence of perspiration वीर० explains 'सुरतकान्तस्वेदसलीलेन शीतलीभवत्' प्रचल मन्द मन्दाकिनीमरुद् तेन चरित अलक चूर्णकुन्तल तै आकुल ललाटचन्द्रं (लता चद्र इव) युति यस्मिन्- adj of (मुखम्)—the beauty of the moon like forehead of which was somewhat disturbed by the hair put in motion by the gentle breezes wafted from the Mandakini. मन्दाकिनी is the river mentioned above. कुङ्कुमेन (saffron) कङ्कटीनो (कङ्क समान मनदो), न ष्कलङ्किनी अनुङ्कुमरङ्गिङ्गतो अत एव कञ्चनो कपोलो यस्य

178 NOTES ON [ VI 37- (adj of मुखम्) कलङ्कित smeared Being in a forest, she had no saffron to apply to her cheeks, which therefore shone with their natural brilliance निराभरणाच्चासो सुन्दरश्च अवयवास्त येन मुखम् निराभरण-without ornaments (as she had come to a forest) P 140 स्तम्भित paralysed Verse 38 चिर जन It is not that a beloved person does not give comfort even in travel, (the beloved person) being as if created and placed in front by one's long brooding over him The idea is -when a man goes far away from those that are dearest to him he constantly thinks of them and thus those persons though really absent, are as if ever present about him. But this is not the case when they are snatched away by death Then the whole world becomes a void न खलु न करोति-this means करोत्येव For the two negatives, vide notes p 102 वल्लभस्य भावाया व्युपरमे नाम The reading विकल्पव्युपरमे is very good When the mental vision of one dear to us vanishes the world is an empty wilder ness कुकुराना इव after that the heart is as it were boiled in a heap of chaff The fire of chaff burns slowly yet intensely He means that the agony is prolonged and does not put a quick end to life कुबूल—हम् chaff or fire of chaff 'कुडूल शङ्कुभि कीर्णे श्वभ्रे ना तु तुषानले' इत्यमर Verse 39 शिशुकलहम्- quarrel of the boys (लव and चन्द्रकेतु) जरा तथा-these are the two causes why they take time in coming on the scene विदूर आश्रम यस्यात् (तद्भावाहम्) तस्य भाव श्रमता तथा-because the hermitage is far (from the battlefield) त्वरित मन येषाम् चिरेणा जन they are coming after a long time anxious in mind yet slow from fatigue N reads विलम्बटा for श्रमतथा, which means 'whose matted hair has become loose' The reading in the text is obviously better Verse 40 In the first two lines, the main clause is वसिष्ठादिभि जुष्टे ऽमहे तातयो तत् दृष्ट्वा after having seen that meeting of our parents (दशरथ and जनक) at the festival which was attended by वसिष्ठ and others सम्बन्ध मुदिते that were delighted by the desir ableness of the connection (between the families of दशरथ and जनक) जुष्ट-सेविते अध्य महे in the festival of the auspicious marriage of their children. महाविशसे वृत्ते सति दृढरा भवन्त्वद्य रिपु (सीतापरित्यागेन) पितृनगर (जनक) पश्यन् रुदन्न (सीतापरित्यागानन्तरी) अह हि साहक्ष्या न दीर्ये शून इव when the great slaughter (i.e. abandonment of सीता) has taken place, अथवा दुष्करम् or what is difficult for Rama to do? He means —one would expect that in such circumstances Rama's heart would

—VI 40] UTTARARĀMACHARITA. 179 be torn to pieces But that has not occurred, as I have such an adamantine heart that I am capable of doing anything (enduring even such a harrowing spectacle). Verse 41 अनु- भाव मात्रानुमेयाय तस्मिन् मानवविभव श्री दर्श whose (former) beauty remains only in his majestic mien This means that on account of his sorrow for twelve years, Rāma had lost all his hand- someness. महसैव—they saw Rāma much changed after twelve years and the contrast struck them most. प्रथम प्रमूर् जनके व्यव- स्थितेनापि after restoring to consciousness Janaka who fainted first. विदुरा being helpless distressed. जनक fainted first be- cause the sad face of राम brought home to him how Rāma did not deserve the resentful words he had uttered a short time before (ca कोपस्य यत्पितु यदित्थनकृतं गतेन वा). The reading अनुकम्पिना is not so good as समवस्थितेन. V. reads प्रथमप्रबुद्धजनकव्यवस्थितेन— which शू० explains as 'प्रथमप्रबुद्धेन वीकेनोपस्थिता पूर्वं दण्डप्रनिपातन- रूपेण प्रसादिता चान्तेति यावत्'. But this is not good, as it seems difficult to believe that जनक recognized Rāma sooner than his own mother. Verse 42—Vide I. 51 for the first half पदसमवदानि let me first go and pay my respects. कुमारयोः प्रत्यभिज्ञानं यस्मिन्. This is a significant name given to this Act. In this Act several circumstances present themselves upon Rāma's notice making him almost believe that Kuśa and Lava were his sons. But it is to be noted that the recognition is not yet complete. It is in the 7th Act that it will be complete, when वाल्मीकि will hand over the boys to Rāma as his. This Act and the 7th deserve to be compared with the 7th Act of the शाकुन्तल. Act VII. The scene of this Act as that of the last three is laid in the neighbourhood of the hermitage of Vālmīki. The events narrated in this Act occurred immediately after those in the 6th. The poet resorts to the device of presenting a drama within a drama. The poet makes us believe that a drama written by Vālmīki himself was performed before Rāma in the presence of the citizens of Ayodhyā and the denizens of the three worlds. This device is resorted to for the purpose of convincing the subjects of Sītā's chastity and of the wantonness of the scandal spread among them about Sītā. The Act closes with the happy reunion of Rāma, Sītā and the two sons, Kuśa and Lava.

180 NOTES ON [ VII. 1- P. 142. ब्राह्मा (ब्राह्मणा) च क्षत्रं (क्षत्रिया) च पौराश्च जानपदाश्च तैः सह सः जानपदः (बहुव्रीहिः) देवाश्च असुराश्च, तिरश्वां (पशूनां) उरगाणां (सर्पाणां) च ये नायकाः (मुख्याः) तेषां निकायश्च (समाजः) तैः सह (बहुव्रीहिः) ed; of भूतग्रामः तिर्यञ्च् m. lower animal उरगः a serpent Serpents are said to dwell in Pâtâla निकायः- 'पशूनां समगोत्र्येषां समाजोऽथ सधर्मिणाम् । स्यान्निकायः' इत्यमरः भूत-भावित the world of beings has been caused to be present by his power ग्रामः -a collection आर्येण-this refers to राम अप्सरोभिः &c. vide text p. 101, where we are told that Vâlmîki wrote a portion of Râma's life and sent it to Bharata for being represented on the stage आतोद्यस्थानम्-the theatre (lit. place of musical instruments) G explains why the theatre was situated on the bank of the Ganges वीर० also says 'सीताया गङ्गाया जलादुत्त- मनभीप्सनीय गङ्गातीरस्थ रङ्गत्वकल्पनम्' आतोद्यम् a musical instrument स्थानसन्निवेशः seating of the audience इति-this is to be con- nected with आदिष्टाश्चार्येण above समुचिते स्थाने संनिवेशः (seating, placing) अद्य-is to be connected with आर्य in the following verse Verse 1 राज्यमेव आश्रमं तस्मिन् निवासः प्राप्त कष्टं (क्लेशरूपदं) मुनेः व्रत येन राज्या० व्रत० who, though a king, observes the harsh course of life of an ascetic Râma did not revel in pleasures as many kings do and he did not remarry though his wife was believed to be dead वाल्मीकिगौरवात् from his regard for वाल्मीकि अपि प्राश्निकाः are the judges in the theatre properly seated ? प्राश्निक means 'a judge, one who is to discuss the merits and demerits of a performance' Vide नाट्यशास्त्र 27 47-50 for their qualifications They were to recommend good actors for rewards from the king प्रश्नमर्हन्ति इति प्राश्निकाः according to 'तदर्हति' पा ५. १. ६३. प्राश्निका may also be persons who on account of their rank or high literary attainments were specially provided with seats on the stage. वीर० explains 'रङ्गस्य नाट्यगानस्य सामाजिकाः । रङ्गस्थले राज्ञा सह वृद्दार इत्यर्थः । अथवा शान्त्यादिपरीक्षार्थमाहूतान्महन्तीति प्राश्निकाः । तदर्हाधिकारिपञ्चन् । समस्त- शास्त्रनिष्णातास्तदृशा इति भावः' कुमारः विम्ब्यो should be given the same respect as that shown to prince चन्द्रकेतु प्रतिपत्ति honour The reading स्थानप्रतिपत्तिः would mean 'a seat of honour'. प्रभु वृत्तम् I have already done so as I understood your Majesty's affection (for them) प्रभोः (रामस्य) स्नेहं (कुशलवविषयं) सम्यः प्रत्ययात् प्रत्यय understanding, it may also mean 'confidence' relying upon' आस्तीर्ण राजामनम् this is the royal seat covered over (with a carpet &c.) The usual सिंहासन was not brought there, but a special seat with a carpet was reserved G

-VII 1] UTTARARÂMACHARITA. 181 criticizes the poet for these words वीर०, however, defends the poet 'इत्यादि वाक्यम् । एतच्च सिंहासनव्यासौपसंख्यानेऽपि अगस्त्य- दौहृदनामवन्नास्तीत्येवेति मन्तव्यम् । दृष्टा एव सदेवासुरेति ऋष्यादीनामपि तत्र संनिधानसद्भावेऽप्या तद्गौरवभावात्सिंहासनातिरेकेणाशीर्वासनमेव युक्तत्वात् । एते- नात्र कवेः प्रमादवचनं प्रत्युक्तम् ।' प्रस्तूयतां begin Henceforward we have the गर्भाङ्क ( drama in a drama ). P 144 सूत्रधार-This is not the सूत्रधार of the original drama, but of the गर्भाङ्क composed by Vâlmîki that was represented before Râma. A ऋषि is defined by साहित्यदर्पण (VI) as 'अदृष्टरजप्रवेशो यो दृष्टसर्वसुखत्रिभाक् । अदृष्ट्वा सम्भाष्य कुर्यात् फल्गुवा न हि । भूतार्थं वदति इति-one who speaks the truth (i.e. things as they happened ) आद्यप्रजापति-because he was a mighty sage इदम् is to be connected with किंचिदुपनिबद्धं वचनं समुपाध्वं कल्याणीषु रथी- दयितम् किंचिद् something उपनिबद्धम् composed तत्र अवधेयम् you should listen to it attentively on account of the importance of the matter. The reading काव्यगौरवात् means 'out of regard for the poem'. It is to be noted that the गर्भाङ्क was composed by भवभूति himself and is represented in the drama as if it was com- posed by वाल्मीकि. This suggests that भवभूति is as great a poet as वाल्मीकि इत्युक्तं भवति-this is what is said. राम explains what the words of the stage-manager virtually amount to. साक्षात्कृत धर्म- णे that have an intuitive perception of धर्म (religious duties) धर्म becomes धर्मन् at the end of a बहुव्रीहि compound 'धर्मादनिच्केवलात्' पा ५ । ४ । १२४. These words are a reminiscence of the following from the निरुक्त 'साक्षात्कृतधर्माण ऋषयो बभूवुस्तेऽवरेभ्योऽसाक्षात्कृतधर्मभ्य उपदेशेन मन्त्रान् सम्प्रादुः' (chap. I ). अमृतभरानि- (अमृतं बिभ्रति इति ) that bear (possess) nectar (i. e. delightful truth). This word seems to be a paraphrase of the word वचनामृत used in the speech of the सूत्रधार. The word is formed on the analogy of स्तनभरा which occurs in the मालतीमाधव (Act III) and in the योगेश्वर. G. says that the poet commits a mistake in using the word, as it is against पाणिनि, who allows such forms as अमृतम्भर only in the sense of संज्ञा ( a proper noun ) 'संज्ञायां भृतृवृजिधारिसहिदमिखटः' पा ३. २. ४६. दृशोऽमले-Vide notes p. 128 प्रज्ञाने correct intuitions. न हीयन्ते never prove false (lit are never defeated) इति For this reason अतः तद्गति they should not be doubted. हताशास्त्वां दग्ध all whose hopes are gone hopeless. The reading इतस्या शास्त्रा is not so good. The beast's may be said to be दग्ध, as she will not allow herself to 16

182 NOTES ON [ VII 1— be devoured by them or हताश simply means 'wretched' इदं किमपि alas! alas! this is something quite different (from what I had expected) प्रस्तावना—here ends the प्रस्तावना of the गर्भानाटक Vide the quotation from the साहित्यदर्पण above लक्ष्मणमवेक्षस्व (at least) have regard for लक्ष्मण The meaning is—I abandoned you without any just cause Hence it is natural that you may not care for me But have regard for लक्ष्मण who will be extremely grieved at your death and who did so much for you in our exile in the Dandakâ forest Some read क्षणमवेक्षस्व (wait for a moment) but this seems to be a conjectural reading राम forgets for a moment that it was a drama that was being acted before him. He fancies that the event was happening just then दैवदुर्विपाक evil turn of fate प्रपञ्चः the incidents in the composition. एष मय Here am I ready (to behold the drama) hard as adamant He means that he will not give way to grief whatever the performance may present to his sight उत्सङ्गिन (उत्सङ्गः कृतः) एकैक दारक वान्ताम्—that had each of them placed a boy on their laps उत्सङ्गिन past p p of a denominative verb from उत्सङ्ग It is to be remembered that besides the two boys कुश and लव that were seated with honour near Rama there are represented on the stage two infants, one on the lap of each of the two गङ्गा and पृथ्वी शमं विशामि I as if am merged in pitchy gloom unknown before and with out cause (i e sudden) He means that at the pathetic sight his mind becomes dark and cannot comprehend things अविद्य मानं निबन्धनं (cause or support) यस्मिन् अर्थे (अपथ्येति अप् पचायच्) न तद् हनश्च अनलममम् according to 'अवसमन्धेभ्यःसमस' पा 5 4 79 (when गमन् is preceded by अव सम् and अप, ष is added on to it) N reads 'असंविभावपदनिःपदे तमसि,' which is not good It means in darkness where I do not know how to plant my foot P 146 वंशाग प्ररोह (sprout scion) यस्य The word वंश means family and 'bamboo Compare नव इव रघुवंशप्रसिद्ध प्ररोह (Act V 3) and notes p 115 शुचित बाष्प तस्य उल्लोल वेन निर्भर overwhelmed with a flood of tears that swell up चारित्र्य उचित worthy of your chastity Some read चारित्रोपचिताम् gather ed by (i e produced by) your chastity ईदृशी in this wretched plight. अनुवृत्तश favoured कृणोदरम् extremely pathetic N reads वन्धान्तं which वीर० explains 'स्तननाभ्युपरिभागिव मृणालसू त्राद्याभरणं वध्वाम्तरिकं दुर्दर्श' अत्र स्नेहेन love for children is trium phant inasmuch as even the all sustaining (earth) is pained

—VII 3] UTTARARAMACHARITA 183 in this case. The next sentence is full of various readings. सर्वसाधारण common to all (including even the earth). एष refers to अपत्यस्नेह. मानस of the mind, internal. The readings अन्तश्चर and आन्तर mean the same thing. मोहग्रन्थि the knot of infatuation. This means that the minds of worldly people are infatuated by their feelings towards their children and they identify themselves with their offspring. उपप्लव trouble, what overwhelms. चेतना प्लव that overwhelms sentient beings. संसारतन्तु the thread of worldly life. It is by स्नेह that the world goes on and it is स्नेह that binds together individuals into an orderly society. The reading मूढग्रन्थि is bad. गूढग्रन्थि is not quite bad. It means an unseen knot. The reading अनुपप्लव means that cannot be overwhelmed (अविद्यमान उपप्लव यस्य). सीतां प्रसूत (having given birth to सीता)—this constitutes the reason why the earth is overwhelmed by the misfortunes of Sita. Verse 4. The earth recounts the heavy misfortunes of Sita. को कीट who indeed is able to shut the passages of fate when ready for fruition in the case of a person. पाक ripening (of good or bad actions). This means that not only cannot the man himself avert his own fate, but that no one else can do so. Some read जन्तु for जन्तो. The meaning is practically the same. पिधातुम्—infinitive of धा with अपि, अ being elided according to 'वष्टि भागुरिरलोपमवाप्योरुपसर्गयोः'. Compare 'दैवी च सिद्धिरित- रद्रुहिणैर्न शक्या' मृच्छकटिक, 'यत्पूर्वं विधिना ललाटलिखितं तन्मार्जितुं कः क्षमः' भर्तृहरि, 'भगवती भवितव्यता मुहुरावर्त्तत इवावतिष्ठते । पदम् गच्छन् पथास्य नियतिः केन रुद्ध्येते ॥' काव्यादर्श 2 117. See मालतीमाधव X. 13 for the latter half of the verse. युक्तमेतत्सर्वम् All this is quite right. This is said rather ironically. न वो रामभद्रस्य (युक्तम्) but what your dear Rama did was not proper. The reading of K. 'युक्तमेतत्सर्वं वो रामभद्रस्य' must be taken as interrogatory, so also 'युक्तमेतद्वा रामभद्रस्य' the reading of K., V. and Gh. Verse 5. न...पाणि no heed was paid to the hand (of सीता) (by राम) पीडित pressed (at the time of marriage). वीर० has the following curious note 'सामुद्रिक- तन्त्रवेत्ता स्वयं रामो मत्संतापात्स्निग्धाधीशनेिकायक रेखाविशेषं दृष्ट्वा विरहोऽद- निरानुक्रोशश्चेति सूचनाय दृढं पाणिं गृहीतवान् तदतिससारेति । अन्यथा पाणिग्रहण- दोषस्याल्पस्याप्यतद्भवत्त्वादिति मन्तव्यम्' प्रत्याहृत is to be understood with each of the nominatives that follow. न अग्नि it is in the presence of fire that the husband takes the oath of not forsak- ing his wife. अनुवृत्ति her obedience (to whatever Rāma said). सन्तति offspring (in her womb at the time when she was abandoned).

184 NOTES ON [VII 5- P 146 कस्ते पुत्र what is your husband to you (now that he has abandoned you without any cause )! ईदृशोऽस्मि I am such (a sinner as you imply by your indignant words) शरीर सारस्य thou art the body of the world There can be no know- ledge in ordinary life without the body, although it is the soul or mind that is possessed of knowledge असंविदाना इव as if not knowing (the real feelings of राम towards सीता) Verse 6. वितत spread. या महद्भातु—compare यन्महद्भुतं कर्म &c (I 44) दृष्ट्वा लोक —compare Act I 41 तदिति करोतु therefore in such a difficult condition, what was my son to do? The readings given in the footnote seem to be conjectural. अव्याहत अन्त प्रकाश येषाम् whose inner light is unimpeded. This means that the minds of deities are conscious of what is passing in the minds of other beings and so भागीरथी had a clear idea of the contending emotions and the difficult postion of Râma when he abandoned सीता सत्त्वेषु as regards beings. 'द्रव्यासुव्यव सायेषु सत्त्वमस्त्री तु जन्तुषु' इत्यमर The meaning निश्चय given by G will not do here तथा अञ्जलि here do I fold my hands (to appease your anger towards Râma) Some put these words in the mouth of लक्ष्मण But that is not proper The words of पृथिवी that follow (नित प्रसादासि च) indicate that something had been done by गङ्गा to appease her अनुवृत्त continued The Ganges had favoured भगीरथ and Râma says that she extended her favour to him also. Vide notes on I 23 for भगीरथ च —this word is used (as including राम and his family) because भागीरथी interceded on behalf of राम आपात संवेगेन by the rush of affection that is irresistible at first G seems to have read आपात्दुःसहकौलीनस्नेहावेगेन on account of the vehemence of my affection (for Sîtâ) about whom there was a scandal that was intolerable at its first rush This is rather farfetched न जानामि—this means जानाम्येव For the two negatives, vide notes p 102 P 149 Verse 7 सारेन by his courage or resolve सकरुणा रूपेषु elders are full of kindly feeling towards those that are like their children गर्भस्य इव रूप येषाम् He means that he is the son in law of पृथिवी and hence like a son Therefore it was that पृथिवी was very easily mollified अविलौना not merged in the earth अवेक्षणीयो to be cared for She suggests that she must live for the sake of her sons. कना तान्दान् I am helpless (without a lord) what have I to do with these? This is

--VII. 7] UTTARARÂMACHARITA. 185 preferable to the reading विनेयाभ्यामनाथाभ्याम् किं नाथाभ्याम् what have I to do with these (two sons) that are orphans? वचमसि- he means that his heart must be adamantine, as it hears the words of सीता and yet does not break or relent. सनाथा whose husband is living कीदृशं नाथत्वम् how can an unfortunate woman like me be called one that has her lord? Verse 8 पावनी कृष्यते by contact with whom (सीता) even our purity is increased भावदो refers to गङ्गा and पृथिवी यस्या रुष्टाद् यसङ्गाद् श्रोतुं पौर -Râma suggests that he had no doubt whatever as to the purity of सीता and that it was for the people to consider the words of divinities like पृथिवी and भागीरथी यावद् दृष्ट्वा यस्मिन् P 150 Verse 10 यंविने हे thy sons are our resort, we we have passed to him. नावैस्य दृष्टे to whom (your sons) the best of Raghus gave us at the very time of viewing the picture. दृष्टे is significant. The words at the time of seeing the picture were sufficient to transmit the missiles to Sîtâ's children. No further instruction by word of mouth was necessary. The reading of K. and Gh. 'दृष्टाने देवो यदाह रघुनन्दन' is not bad. अपरि-even after you abandoned me on account of a scandal. उक्त सन्नीति-Vide text p. 12 Verse 11 धन्या महाम् we are blessed by possessing you. इण्डे बत्स्यो you should wait upon the boys when you are thought of. Verse 12 क्षुभिता (agitated, lashed up) goes with करणौघैष (waves of pathos) विस्रं यत्रत्रा which are full of (lit. overwhelmed with) dismay and joy. वीरो explains 'विस्मय' स चात्र गङ्गादत्तापत्यप्रत्यर्पणसमुपक्रम्पादिमूलकः । आनन्दः सतर्व- संभावनाज्ञानसुखसंविद्विशेषः' P 151 वसिष्ठगुप्ताना protected by वसिष्ठ संस्कारं who will perform the संस्कार such as उपनयन &c सन्ध्यालापस्तरेः-Vide notes p. 80. Verse 14 आदिरस is शतानन्द, the पुरोहित of the जनक family See महावीरचरित (Act III) where शतानन्द is often called आदिरस नै उद्देशे on account of the various signs I fancy these boys (that they understood from the performance to have been born of सीता) to be कुश and लव Verse 15. रङ्गना mentions five circumstances which favoured his theory पन्चसिङ्गानि सङ्गानि यदो प्रता प्रचेतसः याभ्याम् अर्देन हुत्वा मादृशे यदो द्वादशवार्षिकी (द्वादश वर्षाणि भूमौ)-Vide notes on द्वादशवार्षिक -(p. 8). बत्सा स्मि with the very thought that they are my sons is it that my heart is restive and I am beside myself. दृषिषी अन्यू-दृषिषी means to take सीता for staying with her

186 NOTES ON [VII. 15- Râma understood the words to mean that she permitted Sîtâ to be dissolved in her as the latter prayed above. जीवलोकपरिभवं humiliation in the world of mortals (due to the scandal about her). Most editions read ०परिवर्त्तनम्, which is a very frequent word with भवभूति. मन्नियोगेन at my bidding. स्तन्य- त्यागस्य up till the time of weaning, take care of your sons परेण करिष्यामि after that I shall do as I please. कथं सम्प्रवृ- how! the princess of Videha has been dissolved (in the earth). लोका स्थितासि thou art staying in another world. N reads 'कथं प्रतिपन्न एव तावत्.' It is difficult to find what word प्रतिपन्न qualifies. एष ते is this the meaning (i. e. the real object) of your poem? भवभूति puts into the mouth of लक्ष्मण the question whether वाल्मीकि really meant that his poem should have such a tragic end. Here (or rather when गङ्गा says एव तावद्) ends the गर्भनाटक. In the रामायण we read that सीता came with Vâlmîki and her two sons to Râma who had sent for the sage on hearing that he had composed the story of Râma's life. Then Sîtâ said 'यथाहं राघवादन्यं मनसाऽपि न चिन्तये। तथा मे माधवी देवी विवरं दातुमर्हति ॥ मनसा कर्मणा वाचा यथा रामं समर्चये। तथा मे० ॥ यथैतत् सत्यमुक्तं मे वेद्मि रामात्परं न च। तथा मे० ॥' उत्तरकाण्ड 97. 14-16. Then a celestial throne came out of the earth, on which the Mother Earth herself seated Sîtâ. 'तामासनगतां दृष्ट्वा प्रविशन्तीं रसातलम्। पुष्पवृष्टिरविच्छिन्ना दिव्या सीतामवाकिरत् ॥' उत्तर० 97. 20. When Sîtâ vanished Râma was overwhelmed with sorrow. Afterwards Râma placed Kuśa on the throne of Kosala and went to heaven. Thus the poem of Vâlmîki has a tragic end. But the canons of Sanskrit dramaturgy forbade a tragic end and hence भवभूति made a vital change in the story by bringing about the re-union of Râma and Sîtâ by the intervention of miracles. It is laid down in works on dramaturgy that the denouement of a drama should partake of the wonderful. 'कुर्यान्निर्वहणेऽद्भुतम्' दशरूपक III. 34. The words एष ते काव्यार्थः may also suggest the following - this is the aim of your poem. It will do for a Kâvya, but not for a drama. अभ्यनुज्ञातम् permitted. P. 152. Verse 16. मन्थादिव as if on account of being churned. आर्या=सीता. Verse 17. जुषा नो show yourself favourable to us two Gangâ and Prithvî. जुष् 6 A. to be pleased, to like. The reading of V. भजस्व is probably con- jectural. पुण्ये मम वत्सा. The reading तवाभ्यासे means 'in your

-VII 18] UTTARARÂMACHARITA. 187 hands (lit. in your proximity)' Verse 18 शालीनशीलवान्— शालीनं शीलं यस्य स शालीनशील् तस्य भावः ०शीलता—bashfulness 'शालीन—ग्लानिप्रवेशमहति शालीन खष्ट्रण्', according to 'शालीनकौपीने अघृणकार्ययोः' पा 5 2 20. मा ध्याना मन—Vide text p 15 अनृणा ऋद्धिवान ऋण यस्याः सा अनृणा—free from debt बाष्पाया परित्यागे - ०दर्शीन्—Vide text p 20. येन महापाप येन वैश्वानरेण is to be connected with निष्पन्न शुद्धं चारित्रं यस्या For the ordeal by fire, see notes p. 9. समुद्राः खलु—see युद्धकाण्ड chap 117, where ब्रह्मा told राम after सीता had entered the fire that he was विष्णु and सीता was लक्ष्मी 'सीता लक्ष्मीर्भवान् विष्णुर्देवः कृष्णः प्रजापतिः ॥' 7 आयाम्— सीढाम् लोकपालाः—guardians of the eight quarters 'इन्द्रो वह्निः पितृपतिर्नैऋतो वरुणो मरुत् । कुबेर ईशः पतयः पूर्वादीनां दिशां क्रमात् ॥' सप्तर्षयः सप्तर्षयः—मरीचि, अत्रि, अङ्गिरस्, पुलस्त्य पुलह, क्रतु and वसिष्ठ उपतिष्ठन्ते—for the आत्मनेपद rule notes p 8 Verse 19 नियोजय appoint. पुण्यप्रकृतीन् the holy original कृतार्थे—whose desires are fulfilled, blessed. निर्लज्ज—लक्ष्मण, though at the command of his brother, had accompanied सीता and abandoned her in a forest. He therefore looked upon himself as an offender and as a cause though partially, of Sîtâ's sufferings. Hence he calls himself निर्लज्ज वत्समहृशा who art like my own child i. e. who are as dear to me as my child. This gives an excellent sense. Most editions read 'वत्स ईदृशस्त्वं'— such as thou art (the meaning being an obedient brother even in the discharge of unpleasant duties). तथैवैतत् it is just so i. e. just as we thought. लोकान्तरगता that had gone to another world. The reading लोकान्तरप्रापणता is not bad. ईदृङ्देवः i. e. united with your husband and sons P 156 आर्योजनेन—refers to Rama's mothers and अरुन्धती. G reads गन्धपूता सुप्रसन्ना and connects the words with शान्ताभ्यी. This is not good. The mention of लक्ष्मण who plays such an impor- tant role in the lives of Rama and Sita is absolutely necessary. सन्मृष्टा who is in her characteristic mood (of gentleness) निभृता full of. उत्पात (uprooted) लवणं येन मधूरेस्वर-शत्रुघ्न. We saw in the first Act (text p. 29) that शत्रुघ्न was sent to destroy लवण. In this Act the arrival of शत्रुघ्न after twelve years from the time he was despatched is announced. For मथुरा the capital of शत्रुघ्न on the Jumna, see notes p. 50. अनुषङ्गेण सह —आनुषङ्गम्. अनुषङ्गः contact. सानुषङ्गानि कल्याणानि good fortunes never come singly, auspicious things are followed (by other auspicious things) न श्रद्दधे I do not believe (that I am so happy). He

188 NOTES ON [VII 19– says that he has been overwhelmed with so many good things one after another in quick succession, that he is not quite sure whether it is a reality or a dream अहो दयानाम् or this is the nature of prosperity (that it overwhelms the person to whom it comes with too much of itself) भरतवाक्यम् lit the speech of Bharata, hence 'a benedictory verse' भरत is the reputed author of the नाट्यशास्त्र and hence some explain as 'भरतस्य नाट्याचा र्यस्य वाक्यं वचनम्' Another meaning is possible भरत means also 'an actor' Compare मालतीमाधव 'भवभूतिर्नाम कविर्निर्मार्सदिदनेन भरतेषु प्रर्तमान' भरतवाक्यम् the words (benedictory) of the actor The actor here drops his dramatic personality and utters a benediction on his own account Verse 20 सेयं कथा These words refer to the story of Rama s life as contained in the Ramayana. पुनाति and वर्षयति are better than पुनातु and वर्षयतु, as the रामायण was believed to effect this in Bhavabhûti s days गहरया and मनोहरा qualify both गाथा and गता The last two lines are very skilfully written We may take शब्द विद् either as qualifying बुधा or कवे The latter is preferable Perhaps the poet intended both विदल रूप यस्य कवे प्राज्ञस्य may apply both to वाल्मीकि and भवभूति One of the two words एताम् and इमाम् appears to be redundant It is therefore that G takes एताम् meaning 'चित्र' (variegated mixed) Two constructions are possible (and both are intended by the poet) बुधा प्राज्ञस्य शब्दब्रह्मविदः कवे (वाल्मीके ) तां एता अभिनयेर्विन्यस्तरूपा इमा परिणतां वाणीं परिभावयन्तु—May the wise reflect over this poetic strain that is developed (in this book) and that is exhibited by gesti culation this strain of the wise poet (Vâlmîkı) who had perceived Brahma in the form of words Bhavabhûti means that his drama is no more than another phase of Vâlmîkıs work made fit for the stage Another construction is बुधा तानेतां (कथां) प्राज्ञस्य शब्द विद् कवे (भवभूते ) अभिनयेर्विन्यस्तरूपां इमां वाणीं परिभावयन्तु may the wise think that this story (Ramas life) is the same as this matured (or perfect) strain of the wise poet (Bhavabhûti) conversant with Brahma in the from of words, the strain which is to be represented by acting With this construction the word इमाम् does not become redundant, as एताम् is taken as referring to कथा in the first line In this case there are two objects तामेतां and इमां वाणी Some editions read परिणतप्रज्ञस्य (परिणता प्रज्ञा यस्य)—of matured intellect The name संमेलन given to this Act is significant

Uttara-Râma-Charita. ENGLISH TRANSLATION Act I. (Verse 1)—Having made an obeisance to former poets, we pray for this that we may attain the immortal goddess Speech, that is a phase of the Supreme Soul. (After the benediction.) Manager—Enough of prolixity. I inform the dis- tinguished gentlemen (assembled) to-day on the festival held in honour of the adorable Kalapriyanatha. Let this be known to your honours—There is a worthy descendant of Kasyapa's race, having the title of 'Srikantha' by way of distinction, versed in the sciences of Grammar, Logic and Mimansa, Bhavabhuti by name and son of a woman who was sprung from Jatukarnya gotra. (Verse 2) Whom, a Brahmana, this goddess of speech follows like an obedient wife. Uttararamacharita, (a play) composed by him, will (now) be represented. Here do I become a sojourner in Ayodhya for the purpose in hand, as well as one living at the time (when Rama was crowned). (Looking around) How now, sirs! If this is the time of the coronation of the great and respected king Rama, who is the fire (destroyer) of the family of Paulastya when the joyful music is not to be discontinued either by day or night, why is it that the squares (public streets) are now without the singing of bards? Actor (entering)—The reason is, honoured sir, that the high souled monkeys and Rakshesas, who were Rama's allies in the war of Lanka, as well as the priestly sages and the royal sages that had come from various quarters to greet the great king and in whose honour festivities had continued for so many days, have been sent away by him from this place (Ayodhya) to their homes. Manager—Ah, this must be the reason. Actor—Moreover (Verse 3) The queens, the mothers of Rama, headed by Vasishtha and preceded by Arundhati, have gone to the hermitage of their son in law (in order to be present) at a sacrifice. Manager—I am a stranger (here) and so I ask—who is that son in law?

190 TRANSLATION OF [ I 4— Actor —( Verse 4 ). The king Das'aratha begot a daughter, by name S'ântâ, whom he gave in adoption to king Romapâda. R'ish'yas'r'inga, the son of Vibhândaka, espoused her. He has now commenced a sacrifice which will last for twelve years. It is at his request that the elderly persons have gone thither, leaving Jânakî though far advanced in pregnancy. Manager —Then what is the use of this (to us)! Come. Let us wait at the royal gate itself in conformity with the practice of our caste (profession). Actor —If that be so, let your honour think (find out) of some very correct mode of panegyric proper for (the time of) waiting upon the king. Manager —Mârisha (good actor). (Verse 5) We should by all means be doing our duty, whence can there be escape from blame! Men are wicked as regards the chastity of women and speech. Actor —You should say very wicked. (Verse 6) For men speak evil even of the queen, the daughter of Videha's prince. (Her) Residence in the house of the demon is the root (of the scandal) but as regards her fire-ordeal there is distrust. Manager —If this scandal were to reach the great king, then it would be very painful. Actor —The sages and the gods will by all means bring about what is good. (Walking about) Halloo! where is His Majesty now! (Listening) This is what they say. (Verse 7) Janaka, who came through affection to congratu- late Râma, having spent these days in rejoicing, is to-day gone to Videha. The king, leaving the judgment seat, enters his residential palace to console the queen who is therefore despondent. (Exeunt both.) (Here ends the prelude). (Enter Râma seated and Sîtâ) Râma —Queen, daughter of the king of Videha, take comfort, for the elders (i.e. your father) cannot leave us. (Verse 8) But indeed the necessity of performing the prescribed rites takes away independence. The performance of the duties of a householder by persons who have kindled the sacred fires is beset with obstacles. Sîtâ —I know it, my lord! I know it. But separations from relations do cause anguish.

—I. 8] UTTARARÂMACHARITA. 191 Rama—Just so. For, these things of worldly life pierce the vitals of the heart, being disgusted with which, sages desert all objects of desire and seek repose in the forest. Chamberlain (entering)—Dear Rama, (correcting himself in the middle of his speech, with fear) Your Majesty' Rama—(with a smile) Surely, my worthy friend, the address "dear Rama" is just the fitting one for a servant of my father. Address me therefore as has been your wont. Chamberlain—Sire, Ashtavakra has arrived from the hermitage of Rishyasringa. Sita—Sir, why do you then delay? Rama—Send him in at once. [Exit Kanchuki.] Ashtavakra (entering)—Blessing on you both! Rama—Revered sir, I salute you. Please sit down here. Sita—Venerable sir, I bow to you. Are my elders, to- gether with their son in-law, doing well, as also noble Santa? Rama—Is it all right with the revered Rishyasringa my brother in law and habitual drinker of Soma, and is the noble Santa well? Sita—Does she remember us? Ashtavakra—(sitting down) Just so Queen, the revered Vasishtha, the spiritual guide of your family, sends you this message—(Verse 9) "The revered goddess Earth gave thee birth, king Janaka, who is equal to Prajapati, is thy father. Thou art the daughter in-law, my daughter, of those kings of whose family the Sun is the ancestor and I am the spiritual guide. Then what else can we pray (desire) for thee? Only be a mother of heroes." Rama—We are blessed (in this message) (Verse 10). For the speech of ordinary good men follows (is in keeping with) facts (events), while facts follow the utterances of primeval sages. Ashtavakra—Moreover, the revered Arundhati, and the queens and Santa, repeatedly enjoined this—whatever may be her longing, thou surely oughtest quickly to gratify it. Rama—It will be done if she only signify her wish. Ashtavakra—And Rishyasringa, the husband of her sister in-law, sends this message to the queen—dear child, thou wast not brought here, because thou art far advanced in