उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

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

192 TRANSLATION OF [ I. 10— pregnancy, and dear Rama also has been left only for thy solace, therefore I shall behold thee, long-lived one, with a son on thy lap. Rama—(with a smile of joy and bashfulness) So let it be. Has not the revered Vasishtha sent me some command? Ashtavakra—Please listen. (Verse 11) We are de- tained (here) on account of the sacrifice of our son in law. You are only a youth and new is thy rule, be thou devoted to pleasing thy subjects, the glory arising therefrom is thy highest wealth. Rama—As the revered Vasishtha commands. (Verse 12). Affection, mercy, and happiness, nay even Janaki,—I shall feel no pang in abandoning in order to propitiate the people. Sita—Hence, indeed, is my lord the foremost of Raghu's race. Rama—Ho! Who waits there? Let Ashtâvakra have rest. Ashtavakra—(rising and walking about) Lo! the prince Lakshmana has arrived (so saying, exit) Lakshmana (entering)—Victory, victory to my noble brother! Sir, that painter has, according to our instructions, portrayed your Majesty's career on canvas, let my noble brother look at it. Rama—You know, dear brother, how to divert the queen when despondent. How far is it (my story) represented there? Lakshmana—As far as the purification of the queen by the ordeal of fire. Rama—Peace! (In a conciliatory tone) (Verse 13). What need has she, who was purified by her birth, of other purifications? The water of holy places and fire need no purification from other things. Queen, sprung from sacrificial ground, forgive me! This reproach will last as long as thy life. (Verse 14) The cruel world must be pleased by men whose wealth lies in the reputation of their family hence what all I spoke of you does not befit you. The natural place of a sweet flower is settled to be on the head and not being trampled under the feet. Sita—Let it be, my noble lord, let it be. Come, let us see your exploits (with these words she rises and walks about) Lakshmana—Here is the picture. Sita—(observing it) Who are these standing in a com- pact form above my Lord, who seem to praise him?

—I 14] UTTARARAMACHARITA. 193 Lakshmana —Queen ! these are the stupefying weapons accompanied by charms which were handed down from the venerable Kris'as'va to Vis'vamitra, and were presented by him to my noble brother on the occasion of the destruction of Tataka. Rama —Salute, queen the divine weapons. ( Verse 15 ) The primeval seers, Brahma and others, having done penance for more than a thousand years for the welfare of the Vedas, had a vision of these (weapons) as (the manifestation of) their own glories, full of penance (the result of penance). Sita —I am favoured Lakshmana —Here is the scene at Mithila. Sita —Oh ! here my lord is represented, distinguished by the beauty of his body, which is muscular, comely, soft, resplendent and dark like an expanding fresh blue lotus, having his charming grace beheld by my father motionless from wonder, as he (my lord) snapped the bow of Sankara with careless ease and with a round face engaging on account of his locks. Lakshmana —Behold noble lady, behold ! ( Verse 16 ) Here is your father and Satananda, son of Gotama, the family priest of the race of Janaka, honouring the relatives Vasisht- tha and others. Rama —This is quite proper ( Verse 17 ) To whom does not the marriage relation between the families of Raghu and Janaka give pleasure, in which the son of Kusika himself is the giver and receiver ? Sita —Here are you, the four brothers, duly initiated for matrimonial rites, the auspicious ceremony of tonsure (Godana) having been just performed. Ah ! I feel I am in that very place, on that very occasion again. Rama —Even so. ( Verse 18 ) It seems to me to be again that very time, O fair-faced one, when this hand of thine with lovely bracelets put upon it, being joined with mine by the son of Gotama, gladdened me, as if it were a great festival incarnate. Lakshmana —This is the queen. Here is the princess Mandavi, here is the daughter in law Srutakirti. Sita —And, dear brother, who is this other one ? Lakshmana —(with a bashful smile, aside) Oh ! the queen asks about Urmila (my wife). Good ! I will direct 17

194 TRANSLATION OF [ I 18- her attention to something else (Aloud) Noble Lady, see, this is a sight worth seeing And this is revered Bhargava. Sita —(with alarm) I tremble Rama —I salute thee, O sage Lakshmana —Lady, behold, here is he who by my noble brother—( Interrupting him in the midst) Rama —( Rebukingly) Dear brother, there is much to be seen, show us other scenes Sita —( Looking at Rama with affection and great regard) My lord ! this great modesty becomes you well Lakshmana —Here we have arrived at Ayodhya. Rama —(with tears) I remember Alas ! I remember (Verse 19) Then my dear father was alive, we were just married, and we were kindly cared for by our mothers Gone are those days for us ! This Janaki too then, (Verse 20), A child having a face the expression of which was engaging by reason of her bud-like teeth, not very dense, some having fallen off at intervals, and with fine locks dangling about the temples gave delight to my mothers by her sweet limbs, exceedingly charming delightful like the moonlight and possessed of natural grace. Lakshmana —Here is Manthara Rama — (quickly passing to another point) O queen, daughter of Videha's king (Verse 21) Here is that Ingudi tree in the city of Sringavera, where our meeting with the friendly king of the Nishadas took place Lakshmana —(Laughing, to himself) Ah, my noble brother has passed over (in silence) the behaviour of the second mother Sita —Oh here is the incident of tying the hair (into knots) Lakshmana —(Verse 22) That holy vow of leading a forester's life, which the members of Ikshvaku's race observed in their old age, after devolving royal authority upon their sons was undertaken by my lord in his youth ! Sita —Here is the venerable Ganga with her limpid and holy water Rama —Goddess ! presiding deity of Raghu's race, I - salute thee (Verse 23) It was when touched by thy waters that Bhagiratha, having practised penance, in which

[-I. 23] UTTARARĀMACHARITA. 195

• physical pain was discarded, delivered the grand fathers of his father long after they had been consumed by the effulg- ence of Kapila through wrath, when in the sacrifice of Sagara they had cleft open the earth, while busied in searching for the horse Oh mother! of such fame do thou cherish kind thoughts for Sita, thy daughter-in law, even as Arundhati does Lakshmana -Here is the banian tree, Syama by name on the bank of the Kalindi, by the side of the road leading to Chitrakuta, pointed out to us by Bharadvaja Rama -(Looks at it longingly) Sita -Does my lord remember this region? Rama -Ah! How can I forget! (Verse 24) Where thou didst fall asleep, having laid down on my breast thy limbs, though dull on account of the fatigue caused by the tramp on the road (the distance) yet attractive because of their (natural) sportiveness, which were shampooed by my close embraces and which were void of strength like a crushed lotus fibre Lakshmana -Here is shown the obstruction caused by Viradha at the entrance of the Vindhya wood Sita -No more of this. Let me look at my first entrance into the southern forest, when my lord held over me with his own hand a palm leaf umbrella to keep off the sun Rama -(Verse 25) Here are these penance-groves on the banks of the mountain torrents, the trees of which are resorted to by hermits, in which (groves) sages that follow the moral observances and consider hospitality the highest duty, being householders that cook handfuls of wild rice, inhabit huts Lakshmana -Here is the mountain named Prasravana, situated in the middle of Janasthana, the darkness of which is rendered deeper by the ever drizzling clouds and the ravines of which resound with the river Godavari encircled by the forest in its vicinity which is blue, glossy and dense on account of the belt of thickly growing trees Rama -(Verse 26) Dost thou remember, lovely lady, the days which we two spent on that mountain being at ease as Lakshmana waited on us? Dost thou remember the Godavari with its sweet water and also our movements upon its