उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

108 NOTES ON [III. 40—
benumbed, rendered dull or inoperative) by extreme joy. साध्व-
सेन परवानस्मि I am helpless (cannot control my actions) on ac-
count of agitation. तद् therefore धारय hold कष्टं एव it is a pity
that this is all a wild roving उन्माद madness, derangement of
brain We have seen above (text p 58) that Sîtâ had be-
come invisible to all through the favour of the Ganges. So
Vâsantî did not see her. Râma also did not see her, but in the
action of touching him he seized her hand. Vâsantî, not seeing
Sîtâ, thought that the words of Râma 'एनां धारय' were due purely
to Râma being beside himself through sorrow. आक्षिप्य snatch-
ing. Verse 41 Construe तस्या स जड प्रकम्पी स्विद्यन् करपल्लव जडाद्
प्रकम्पिन स्विद्यत मम करात् सहसैव परिभ्रष्टः that hand of hers, that is
cool, trembling and perspiring, all of a sudden dropped from my
hand that was cool, trembling and perspiring The poet here
speaks of स्वेद and वेपथु (प्रकम्प), which are सात्त्विकभावाः See
notes on verse 47 below. न पर्यवस्थापयति आत्मानम् he (Râma)
does not compose himself. अनद्ध नयन whose eyes are unsteady,
dull stupefied and rolling. अनवस्थित not fixed on any object
His eyes appeared at one moment wandering, in another moment
to be fixed, then again plunged in darkness and again striving
for light. N reads 'अनुबद्धबहुघूर्णमानवेदेन न सम्भावयाम्यात्मानम्' which
means I (सीता) do not compose myself, my torments being conti-
nuous, many and agitating' अनुबद्धा बहुप्य घूर्णमानाश्च वेदना यस्य.
With the reading in the text we have to suppose that सीता
refers to the condition of Râma. But we do not find in the
sequel any allusion to Râma's rolling eyes &c. If we accept the
reading of N, then the sentence refers to the condition of सीता
herself. We find in the next two speeches of तमसा and सीता
that her helpless condition is referred to. Though she extricated
her hand she was extremely flurried and could not present a com-
posed appearance to तमसा. Therefore the reading of N is better.
G reads 'अनवस्थितस्तिमितघूर्णमान अविरलवेदनं न पर्यवस्थापयामि आत्मानम्'.
This is also a good reading. It means 'I do not compose
myself who am unsteady, dull and shaking and whose
torment is very great' अविरला (not thin, dense) वेदना यस्य.
सस्नेह विस्मयं looking (at सीता) with affection, admira-
tion and smile. Verse 42 सस्वेद (स्वेदेन सह, बहुव्रीहि) रोमा-
ञ्चितं कम्पिनं च अङ्गं यस्या —whose body is full of perspiration, has
horripilation and is trembling. प्रिय स्पर्शेन by the pleasure due
to the touch of her husband. रोमाञ्च सञ्जात अस्य इति रोमाञ्चितम्.

—III. 42] UTTARARĀMACHARITA. 100
According to 'कदम्बः सर्षपः प्रोक्तः करहाटस्त्विदम्पदः' ५.२.३१. सद्यः तरन्मद-
मरुताऽग्रतो वात्या (वातेन) प्रविधूता सिता च स्पृष्टा कोरेव (कणिका)
यस्याः 'कणिका कोरकः पुनरित्यमरः' मन्ये कोरेव like the branch
(lit stick) of a कदम्ब tree, which is shaken by the wind and
sprinkled with fresh rain water and which then has put
forth buds. This verse contains a fine उपमा. The body of सीता
is compared to कदम्बयष्टि, her कम्प due to agitation is compared to
the कम्प of the tree by the wind, स्वेद to जलकण and her रोमहर्ष to
buds. Sanskrit poets represent the कदम्ब tree as putting forth
buds when rain water falls upon it. दग्ध refers to this very
often. Compare 'अभिनवो कदम्बस्तोकहरिद्वेनि उन्मिषितपुष्पकुहरं
कुसुमम्', 'पुरम्तद्वाष्पविह्वलोऽय मञ्जुनान् पश्चात्कदम्बस्तनः ' उत्तरभाग.
This verse describes the three Sāttvikabhāvas स्वेद, कम्प and रोमाञ्च
which are the external indications of the inner feeling.
P 78 अप्रेत - भगवत्या I am put to shame by the revered Tamasā
(i.e. I am ashamed to show myself to her) in consequence of my
being unable to control myself. She could not prevent the external
indications of intense love for Rāma manifesting themselves.
लज्जिता past pass. p. of a denominative verb from लज्जा. किमेषा
मंस्यते what will she think? एव...परदू इति such a repudiation and such
an attachment (notwithstanding the abandonment). इति is to
be connected with मंस्यते and indicates the thought that सीता
fancies might be passing in the mind of तमसा. कथमनास्त्येव how?
she is not (here) at all. ननु shows 'emphasis' here.
एवंविधं reduced to this (extremely pathetic) condition.
न...इति you will please not abandon me who am in
this (sad) plight. राम thought that सीता had been to him a
moment before but left him afterwards, therefore he says these
words. विपर्ययः adj. contrary, topsy turvy. She means—it is
not I who left you, but it is you who abandoned me. दृढोत्थम्भनं
—हेतु उत्तर श्रेयन् 'उत्पुष्पिताग्रैरेभिरुत्तर माण्डुरत्' चिन्ता. दृढोत्तम्भनं
make firm or steady. अतिभूमिं गतं gone to excess (of sorrow).
The reading अतिभूमिगतविप्रलम्भम् (कर्म of आश्र्वासयन्) means 'whose
sorrow (for his beloved) is gone to excess.' विप्रलम्भ—separa-
tion, also 'delusion.' अतिभूमि गतं विप्रलम्भं यस्य 'विप्रलम्भो विप्रयोगे'
इत्यमरः. व्यक्तान्नास्तेव—clearly she (सीता) is not here. अपि स्यात्
can this be a dream? अपि introduces a question. Rāma asks
himself whether he was dreaming when he felt that Sītā touch-
ed him. To this he replies in the words न चास्ति सुप्तावकाशः कुतो -
निद्रा whence (how) can Rāma have sleep? He means that on
10

110 NOTES ON [ III 42—
account of his intense sorrow he hardly gets any sleep स मा-
that very delusion which is caused by my brooding repeatedly
(over the image of सीता ), follows me again and again अनेकवार
परिकल्पना सदा निर्मित The idea is the same as that contained in the
words 'नून सङ्कल्पाभ्यासपाटवोत्पादान एष रामभद्रस्य भ्रम' ' (p. 61 text)
On सर्वथा वीर० says 'मम वामन्त्याक्षानुपलम्भाद् निद्राया अभावेन स्वप्नानुपपत्तेश्च
सर्वप्रकारेणापि सीतास्पर्शनं भ्रमरूपमिति भावः' The word भगवान् is ap-
plied to विप्रलम्भ ironically or it means 'very powerful'
'ऐश्वर्यस्य समग्रस्य धर्मस्य यशसः श्रियः । वैराग्यस्याथ मोक्षस्य षण्णां भग
इति स्मृतः' क्षीरस्वामी वीर० says 'भगवानित्यनतिलङ्घनीयत्वप्रयुक्तपूज्यता-
ख्यापनार्थम्' विप्रलम्भ deceived सीता takes the blame upon her
self, because she by touching Rāma induced the belief
in him that she was near him and then withdrew her
hand पश्य-वासन्ती wants to divert Rāma's mind and
therefore shows him other objects Verse 43 पौलस्त्यस्य रथ
(see) here the iron chariot of Rāvaṇa broken by जटायु For
पौलस्त्य, see notes (p 5) In this line the word is जटायुषः, while
in the third line it is जटायु विघटित broken कार्ष्णायस —कृष्णं
अयः तस्मात् निर्मितं अय (n) metal in general, also, 'iron
पुरतः in front The reading पश्यैते is not good as the words पश्य
पश्य in the beginning are common to the whole verse पिशाच
खरा asses that had mouths like those of goblins and of which
only skeletons remain पिशाचानामिव वदनानि येषान् कङ्काल शेषं
येषाम् 'स्याच्छरीरास्थि कङ्कालः' इत्यमरः 'रासभा गर्दभा खराः' इत्यमर G
explains खरा as mules खड्गेन छिन्ना चासौ जटायुपक्षतिश्च एताः रीता
here are the wings of जटायु cut off by the sword (of रावण) पक्षति
f the roots of wings. 'स्त्री पक्षतिः पक्षमूलम्' इत्यमरः 'पक्षात्तिः' पा 5 2 25
(मूलग्रहणमात्रमनुवर्त्तते । पक्षस्य मूलं पक्षतिः । सि कौ ) We may also take
यद्न पक्षति as an adjective qualifying अरि खड्गेन छिन्ना जटायुपक्षति
येन In that case इतः would mean from this place (darted up
into the sky the enemy ) भीता दरि (here) the enemy (रावण),
carrying Sītā who was trembling rose up in the sky, resembling
a cloud charged with lightning flashing inside. चलन्तीम्-trem
bling (through fear of रावण) The reading ज्वलन्तीम् is good and
preferable to चलन्तीम् It means burning (with anger or with
the lustre of her chastity and beauty) अ तस्यांऽन्तर् विद्युद् यस्य सः,
or अन्तः विद्युद् यस्मिन् अभ्रम् उद्द्यन् स्फुरन् busy (here flashing) This is
a fine simile The swarthy and large bodied Rāvaṇa is compa-
ed to the cloud the fair and trembling Sītā to the brilliant and
flashing lightning याम् acc sing of दी अभ्युदगात्-Aorist of

-III. 43] UTTARARÂMACHARITA. 111
र्था with अभि and उद् The reading अन्तर्व्याकुलं cannot be well con-
strued with विदूरं Gh suggests that we may separate as अभि
(meaning अनियमाना भी यथा स्यात् fearlessly) and उद्भ्याम् This is
not very happy वीरो remarks on the comparison 'अनेन दृष्टान्तेन
स्वगतोऽवद्यदोषो नास्ति इति सूचितम् ।' For an account of जटायु, see
notes p 32 For the encounter between जटायु and रावण, see
अरण्यकाण्ड chap. 50-51 भवभूति faithfully follows the रामायण in
the particulars mentioned here 'ताडयोरच्छदान्दिव्यान्पिशिताश्य-
दनान्खगान् । तांश्चास्य सशरान्बाणान् समरे बभ्रञ्ज ह ॥ अथ विक्षेपमुद्गरं काञ्ची-
पञ्चकार्चितम् । मणिसोपानचित्रञ्च बभञ्ज च महारथम् ॥ तस्य व्यायच्छमानस्य
रामस्यार्थे स रावणः । पक्षौ पादौ च पार्श्वौ च खड्गमुद्धृत्य सोऽच्छिनत् ॥' अरण्य-
काण्ड 51 15-16 As to the words सीता जगन्मयी &c note the follow-
ing —'सा तु हा राम रामेति रुदती स्रस्तभूषिता । जगामाकाश माकाशे रावणो
राक्षसेश्वरः ॥ ततस्तस्याः प्रवृद्धायाः पीतकोशेयवासिनी । रराज राजपुत्री तु विद्युत्सौदामिनी
यथा ॥ सा पद्मरागा हेमाभा रावणं जनकात्मजा । विद्युद्वनमिवारोचिष प्रशुभे
तद्विभूषणैः ॥' अरण्यकाण्ड 52. 13-14, 24 तात refers to जटायु
व्यापादितः is killed सीता, at the mention of the encounter
between जटायु and रावण, forgot where she was and thought
as if the events were happening then सावेगम् with excite-
ment आ —'आङ् तु स्यात्कोपेऽप्ये' इत्यमरः तातप्रभृतीन् सीता न मन्त्रयतीति
शेषः also refers to जटायु as तात as the latter was
a friend of दशरथ राक्षसदहकेतो O fire of destruction (or
'comet indicating the destruction ) to the family of demons
Vide notes (p 5) on पौलस्त्यकुलधूमकेतो किम विपन्नः does any
object of your wrath still exist ? She means —the demons are
all destroyed and there is no one left on whom you can wreak
your anger मन्यु anger Râma also at the mention of जटायु and
रावण forgot himself for a moment अहम्पि —सीता says that she
also, like राम, forgot herself उद्भ्रान्ता distracted, gone mad अन्य
--वातः now there is a strange change विपर्ययः change, reverse
The following verse explains what great difference exists
between the former separation of राम from सीता (when she was
carried off by रावण) and the present one When वासन्ती asked राम
whether any demons yet existed, he recovered himself but the
contrast between his condition when enemies existed and when
they no longer existed, struck him and made him utter the follow-
-ing sentiment The reading अन्यथैवायमधुना प्रलापो वर्तते of V and
Gh. is good It means 'this my prattle is now really a prattle '
जल्प्पे significant. The idea is —If I had said 'आः पाप क्व यासि'

112 NOTES ON [ III. 43-
at the time when सीता was actually carried off, the words would
have been most appropriate. But she, being abandoned twelve
years before, is now no more (so राम supposes), and there is no
possibility of her being carried off. So these words are really
now the ravings of a mad man. We did not adopt this reading,
because we believe that it does not contain the original
words of the author, but that it is purely conjectural. Verse 44.
The first three lines form one sentence. Construe अविरत करं-
वीराणां विमर्द्दे जगति जनित रस-स खत मुग्धाक्ष्या वियोग उपायानां भावाद्
रिपु-वधि अभूत्—that separation from the lady (सीता) with charm-
ing eyes was to last till the destruction of the enemies on account
of the existence of remedies (for destroying them)—that separa-
tion which produced a feeling of great wonder in the world by
the encounters of heroes which contained constant incidents for
giving me relief (from sorrow) अविरता (never ceasing) विनो-
दव्यतिकरा येषु adj. of विमद्दे. विनोद relief beguiling amusement.
व्यतिकर incident. Or -व्यतिकर may be taken to mean सम्बन्ध जनित
अल्पहुतरस यस्मिन् or येन—qualifies वियोग. रिपुपाते अवधि (अवसान)
यस्य—qualifies वियोग. कथं विप but how can this separation be
patiently endured which (वियोग) is without remedy and endless?
अप्रतिविध—remediless. राम means—When सीता was carried
off by रावण, he fought with him and recovered her. That separa-
tion could be borne because there were numerous engagements
in that war which thrilled the whole world and diverted the mind
of राम. He draws three points of distinction between the former
वियोग and the present one. I In the former separation, there were
remedies by resorting to which an end could be put to it: in
the present one सीता being dead (as राम thought) no remedies
were of avail. II There was hope that the former separation would
end (and as a matter of fact it did end) while in the present
one there is no hope that it will ever come to an end (as सीता
was supposed to be dead). III The former separation was made
bearable as the mind was diverted by war-like operations, but in
the present separation nothing can be done except bearing it
patiently. V reads व्यतिकर for -जनिक? In that case it will
have to be construed as an adjective of वियोग the meaning being
in which there were constant incidents for relieving (sorrow).
This is a good reading and will render the verse more symmetri-
cal and easy to construe. The reading of the text in the last
line is preferable to that of Gh, as it brings out all the three

points of contrast between the former and the present वियोग
and C seem to have read प्रलय (destruction, dissolution),
which is not good. We require the same word (वियोग) in order
to heighten the contrast. वीर० remarks 'पुनर्दानाभावान्निश्चये वियोगस्य
प्रकृष्टतोक्तिः' निर. भामिनी alas! I am cursed in that (my lord
says that) it (the present separation) is to be endless. राम
meant that सीता being dead the present वियोग would never come
to an end, even if he wished to end it. सीता thinks that he uses
the word निरवधि, because he had determined never to welcome
her back. These words deal a heavy blow to her, they dispel
what forlorn hope she might have entertained of being re-in-
stated at some distant date. Verse 45. The first three lines
contain five relative clauses. The word यत्र occurs only in three
out of these and we have to understand it in two others. कपीन्द्र =
सुग्रीव. For the alliance between राम and सुग्रीव see किष्किन्धाकाण्ड
5-7. 'ततोग्निं दीप्यमानं तौ चक्रतुश्च प्रदक्षिणम् ॥ सुग्रीवो राघवश्चैव वयस्यत्वमुपा-
गतौ।' किष्किन्धा० 5 15-16. शौर्य—prowess. हरयः of the monkeys.
Supply कृताः after जाम्बवतोऽपि. जाम्बवान् is popularly supposed to be
the chief of bears. But the रामायण speaks of him as a वानर.
'जाम्बवान् वानरश्रेष्ठः सह सर्वैः प्लवङ्गमैः । भूत्वा हृष्टस्ततोत्थाय सुग्रीवानमब्रवीत्॥'
किष्किन्धाकाण्ड 39. 2. He was of signal service to राम in various
ways. It was he who encouraged Hanumân to undertake the
feat of crossing the ocean. It was he who, when राम, लक्ष्मण and
the whole army of the monkeys lay senseless on the battlefield
on account of the missiles of इन्द्रजित्, directed Hanumân to go to
the Himâlayas and bring medicinal herbs for curing the wounds
of the army. See युद्धकाण्ड chap. 74. न गतिः वायोरपि where there
is no access even to the son of the wind. This refers to हनुमान्,
the son of अञ्जना and वायु. See किष्किन्धाकाण्ड chap. 66. As to
the greatness of Hanumân note the words of जाम्बवान् to विभीषण
'अस्मिन्जीवति वीरे तु हतमप्यहतं बलम् । हनूमत्यायुषाहीने जीवन्तोऽपि मृता वयम् ॥
धरते मारुतिस्तात मारुतप्रतिमोजसा यदि । वैश्वानरसमो वीर्ये जीविताशा ततो भवेत् ॥'
युद्धकाण्ड chap. 66. 22-23. The words in the text have a pictures-
que effect. वायु has access everywhere. But सीता is now there
where even the son of वायु cannot reach. क्षमः able. नल was the
name of a monkey chief who constructed the सेतु by which the
monkey host passed over to Lankâ. Vide युद्धकाण्ड सर्ग 22. सागर
says to राम 'अयं सौम्य नलो नाम तनयो विश्वकर्मणः । पित्रा दत्तवरः श्रीमान्
प्रीतिमान् विश्वकर्मणः ॥ एष सेतुं महोत्साहः करोतु मयि वानरः । तमहं धारयिष्यामि
यथा ह्येष पिता तथा॥' 41-42. सीते हे Oh thou, my beloved

114 NOTES ON [III 45–
where art thou in a place which is beyond the reach (lit not
the province) of the arrows of even लक्ष्मण ? Some read अविषयं,
which is not good. In that case we shall have to supply य
before अविषयं, which will break the symmetry, as in other
clauses we have यस्य बहु विरहम् I am made to think highly of
my former separation (from राम) She says so because then
she lived in hopes of again being united to Rāma N reads
॰विरहे, which does not yield a good sense It will mean 'I was
highly honoured in my former separation' दुःख दर्शनम् the
sight of Rāma will only tend to generate sorrow in the hearts
of his friends. किय द्विष्यामि how long shall I make you cry ?
He means that all along during their meeting वासन्ती had been
crying on account of the sad recollections that Rāma s presence
without Sītā aroused तन्मु गमनाय therefore permit me to go.
P 81 वर्षवर्धन सादयितु in order to perform the auspicious
ceremonies for the prolongation of the life of (कुश and लव)
N reads वर्षद्वैतमङ्गलानि which वीर० explains 'द्वादशवर्षपूत्तिमङ्गलानि
देवतापूजादीनि शुभानि' दुर्लभं दर्शने यस्य अस्ति—This sentence explains
why Rāma wanted permission to go He had began the अश्वमेध
sacrifice in the midst of which he had come to punish शम्बूक
(see pp 39 40 text) The speech of राम extends up to अनुज्ञाप्योद
यामि But in order to produce a striking effect on the spectators,
the author has interposed the two utterances of सीता The
audience hears both राम and सीता But सीता is supposed to
be invisible to राम सोत्कम्पम् in a trembling manner (with a
trembling heart) The words of Rāma (अस्ति सहधर्मचारिणी )
are like a thunderbolt to सीता and cause for a moment a
heart rending shock and make her hold her breath But the
following words (हिरण्मयी &c ) at once relieve her and she
breathes freely सोच्छ्वासम् with a deep sigh (of relief) and
tears आर्य त्वम्—she means that what he has done is like him
self, is what was expected of a noble and loving personality like
राम उत्खात पृषण my lord has now plucked out (from my heart)
the dart of shame due to my abandonment by him सीता means -
my abandonment without any cause has been rankling in my
heart like a dart. But the fact that Rāma yet loves me so
intensely as to have by his side my image has made me forget
the undeserved treatment I received I feel no shame now, -
Rāma has done sufficient penance for his bad treatment of me
and I am now quite satisfied. तथापि—सीतापरित्यागे सति तथापि .

—III 45] UTTARARĀMACHARITA 115
प्रेदानि I shall divert my eye full of (lit. smeared with) tears
by looking at the image of सीता The purpose of the third
Act is to take away the grief of undeserved abandonment
rankling in Sita's heart is here accomplished. धन्या सा—
This refers to the image आशा लोकस्य has become the stay
(lit. tie) of the hope of the world. The whole world depend-
ed upon the life of राम, which in its turn, depended upon the
comfort derived by looking at the image एवमात्मा स्तूयते—In
this way you praise yourself. The praise of the image is
virtually the praise of the original (सा सीता herself) परि-
हसितास्मि भगवत्या I am laughed at by the revered (तमसा)
महान् प्रमादः this meeting has been a great favour to me.
व्यतिकर: contact गमन कार्यम् as to going away, you should so
act as will not interfere with your duties. प्रतिकूला संवृत्ता—
वासन्ती became unfavourable as she permitted Rāma to go,
which Sītā did not desire कथं गम्यते how can you go? She
means that in the condition in which सीता is seen to be it is
impossible for her to go. Connect मय्यास्तं with चक्षुष in the follow-
ing verse. Verse 46 प्रत्युप्तं रभ्यते the contact of whose eye,
which is as if rivetted on your husband and is wide stretched
through the longing (to see him long), can be checked only
with efforts resembling the piercing of vitals. She means—
सीता has rivetted her eye on राम, to take away that eye from
Rāma would require tremendous efforts and cause as much
anguish as piercing the vitals would do. प्रत्युप्त inlaid, fixed.
तृष्णाया दीर्घस्य संनिकर्ष contact, proximity. Most editions read the
last half as मर्मच्छेदपरीक्षतैरुपायैर्न समाप्यते the withdrawing of your
eye is not effected (lit. completed) even with heart-rending
efforts. This is good, but seems to be a conjecture in order to
gloss over the difficulty caused by 'मर्मच्छेदोपमैर्यत्नैः'
P. 83 अपूर्वपुण्येन जनेन दर्शनं दत्तो D and G read सुकृत-
पुण्यजनदर्शनीयाभ्याम् सुकृत and पुण्य mean the same thing. In
order to avoid this, G makes a desperate suggestion and takes
पुण्यजन to mean the राक्षस. विभीषण पुण्यजन does mean राक्षस
'यातुधानः पुण्यजनो नैर्ऋतो यातु रक्षसी' इत्यमरः वीर० is more reasonable
and explains 'सुकृतानि पुण्यानि येस्ते सुकृतपुण्याः । सुकृतपुण्याश्च ते जनाश्चेति
विग्रहे कर्मधारयः' कियच्चिरं दर्शनम् How long is it possible to see
the moon on the full-moon day when screened by clouds? She
means—when there are clouds in the sky, a sight of the moon
can be had only at intervals and for a short time सीता means

116 NOTES ON [ III. 46—
that she must look upon herself as extremely fortunate in that
she obtained, though for a short time, a sight of राम after so many
years. Here राम is spoken of in terms of the full moon. This
indicates the व्यभिचारिभावनिर्वेद (resignation, dejection). अहो
धानकम् Oh, how strange is the arrangement of incidents (in the
lives of राम and सीता). It also means the plot of a drama.
Here भवभूति indirectly suggests that his own skill in arranging
the events of his plot is superb. Verse 47. एको विकारान्
The identical sentiment of sorrow, appearing different in con-
sequence of (the presence) of different circumstances, seems
to assume several different forms. तमसा says:—the sentiment
underlying all these strange and manifold incidents of the
lives of राम and सीता is only one, viz. करुण. But on different
occasions, that sentiment presents other appearances on
account of the external conditions in which that sentiment
has to operate. At one time the sentiment may border
upon शृङ्गार, at another time it may verge upon वीर, but all the
same the under-current running beneath all these outward
manifestations of शृङ्गार or वीर is always करुण. In order to illus-
trate this, तमसा gives an illustration. आवर्त...समग्रम् just as
water (assumes) the various forms of effects, whirlpools, bub-
bles, waves, though all that is (in reality) water only. Supply—
जायन्ते after अम्भो यथा. आवर्त—whirlpool. Whirlpools, bubbles
and waves are manifested in water. When we see them, we are
not to suppose that they are entirely distinct from water,
which is their substratum. They are in reality various forms
and phases of water. Without water they cannot be. Similar-
ly in the life of राम and सीता, करुण is the all-pervading sentiment
though at times we may see it in the form of शृङ्गार or वीर on
account of the conditions under which it is operating. The
word विवर्त has been explained above (notes pp. 58-59). It is
to be noticed that the word occurs here in juxtaposition to
विकारान्. This may plausibly be urged as a reason for holding
that the word विवर्त was used by the author in the sense of विकार
and not in the strict technical sense as explained on p. 59 of the
notes. But the occurrence of the word in the 6th Act in the
verse 'विद्याकल्पेन मरुता मेघानां भूयसामपि। ब्रह्मणीव विवर्तानां क्वापि प्रविलय-
यः ॥' lends support to the view that the technical sense of the
word was known to the author. The words क्वापि प्रविलय require
that the appearances manifested in ब्रह्म exist no more and that

—III. 47] UTTARARĀMACHARITA. 117

—there remains only one undifferenced Brahma. It appears to
us that even in the present verse the word विवर्त is used in its
technical sense of 'an illusory appearance'. The author means
that everywhere the underlying रस is करुण, but to readers and
spectators of average abilities it appears that in some cases the
रस is शृङ्गार or वीर that however, is a mistake due to the निमित्तs
(the उपाधिs) in conjunction with which the one रस (करुण) is
working. The example is given only for the purpose of show-
ing the oneness (sameness) of the underlying entity. It is
not necessary that the illustration and the thing illustrated
should be on all fours. Hence the word विकारान् cannot help
in determining the sense of विवर्तान्.

This verse is a key to the whole of the drama. By putting
it in the mouth of तमसा, the author secures two objects. He
brings out that करुण is the keynote of Rāma's life. He further
puts forward this verse as his own analysis of the whole drama
being apprehensive that his readers and the audience may not
be able to appreciate his execution of the task he had set to
himself. We may regard him as saying—The underlying senti-
ment throughout this drama is करुण. At times it may appear
at first sight that the main sentiment is शृङ्गार (as in the first
Act) or वीर (as in the fifth) but that is only an appearance;
the reality is that even there it is करुण that is the main under-
lying sentiment. The शृङ्गार in the first only serves to heighten
करुण by the great contrast it presents when सीता was with Rāma
and her separation from him which quickly follows. The वीररस
also lends a charm to करुण, inasmuch as we behold that on
account of the one initial act (which is the basis of the whole
superstructure of करुण) of abandoning सीता, राम is almost about
to fight with his own son without knowing it. Further it
seems to us that the author hurls down a defiant challenge to
some of his fastidious critics. Some writers on dramaturgy
laid down that in a Nātaka technically so called the principal
रस must be either शृङ्गार or वीर. For instance the साहित्यदर्पण
(which is later than भवभूति) in describing what a नाटक should
be says 'एक एव भवेदङ्गी शृङ्गारो वीर एव वा । अङ्गमन्ये रसाः सर्वे कार्यो निर्व-
हणेऽद्भुतः ॥' It seems to us that भवभूति did not like these ideas
of the critics and triumphantly calls upon them to note that
he has written a नाटक of absorbing interest and surpassing
beauty, in which the principal रस is करुण and not शृङ्गार nor वीर.

118 NOTES ON [III. 47—
The word रस requires some explanation. रस is that indes-
cribable feeling partaking of the nature of bliss which a man of
taste experiences when he appreciates a poet's work and comes
to be in tune with it. Rasas are said to be eight शृङ्गार, हास्य,
करुण, रौद्र, वीर, भयानक, बीभत्स, अद्भुत. Some add a ninth शान्त. The
साहित्यदर्पण (III. 1) defines रस as 'विभावेनानुभावेन व्यक्तः सञ्चारिणा तथा।
रसतामेति रत्यादिः स्थायिभावः सचेतसाम्'॥ Love (रति) and the like which
are permanent moods (or underlying sentiments) in any com-
position when manifested by विभाव, अनुभाव and सञ्चारिभाव, attain
to the condition of रस in the man of taste. The स्थायिभाव cor-
responding to the above eight Rasas are रति, हास, शोक, क्रोध,
उत्साह, भय, जुगुप्सा and विस्मय. विभावाः are those which are the
causes of the स्थायिभावs i. e. on account of which the स्थायिभावs
रति &c. are manifested and those which nourish them (रति, हास
&c.) when they (रति &c.) are produced. विभावाः are of two
kinds आलम्बनविभाव and उद्दीपनविभाव. Women (in the case of
men) and men (in the case of women) are the आलम्बनविभाव,
because they produce the स्थायिभावरति. The gestures of the
आलम्बनविभाव, चन्द्रोदय, वसन्त &c. are उद्दीपनविभाव because they
inflame love. अनुभावाः are the effects of the स्थायिभाव रति &c.
which indicate externally the working of the feelings (अनुभावो
विकारस्तु भावसंसूचनात्मकः। दशरूपक IV. 3) such as glances, perspira-
tion. Under अनुभाव are included the eight सात्त्विकभावs 'स्तम्भः
स्वेदोऽथ रोमाञ्चः स्वरभङ्गोऽथ वेपथुः। वैवर्ण्यमश्रु प्रलय इत्यष्टौ सात्त्विकाः स्मृताः॥'
(नाट्यशास्त्र 6. 22) व्यभिचारिभावs (or संचारि०) are those moods
which help or are accessory in apprehending स्थायिभाव or its
effects; they are so called because they are not permanent, but
appear and disappear as waves in the ocean. They are 33 in
number, निर्वेद, ग्लानि, शङ्का &c. (see नाट्यशास्त्र 6. 18-21). They
are not main sentiments in a composition, they are associated
with the main sentiment in a composition.
We have in various places pointed out the सात्त्विकभावs and
व्यभिचारिभावs. सीता and राम are the आलम्बनविभावs. The sight of
पञ्चवटी and the various spots in जनस्थान are the उद्दीपनविभावs.
The illustration of water and bubbles &c. occurs often in
the Vedantasutrabhashya of Sankaracharya. 'यथा हि समुद्रादुदका-
त्मनोऽनन्यत्वेऽपि तद्विकाराणां फेनवीचीतरङ्गबुद्बुदादीनामितरेतरविभाग इतरेतरसं-
पादिश्चलश्च व्यवहार उपलभ्यते on ब्र०सूत्र II. 1. 13; 'यथा च समुद्राद्यनेकेषां
फेनतरङ्गाद्यात्मना मानस्तत्त्वम् on ब्र०सूत्र II. 1. 14.

—III 47] UTTARARĀMACHARITA. 119
P 84 तमसावासन्त्यौ—तमसा addressed the following verse
to सीता and वासन्ती addressed it to राम. It is to be remem-
bered that वासन्ती and राम did not see both तमसा and सीता.
Compare a similar device below V 16, 18-19. Verse 48.
Understand दिशतु with each of the nouns in the nomina-
tive viz. अवनि, अमरसिन्धु, कुलपति, वसिष्ठ, अवनि the earth.
अमरसिन्धु the river of the gods, i. e. the Ganges. सार्धं याभिः—
this goes with अमरसिन्धु —together with others like us
कुलपति —a sage who is the head of an institution where 10000
sages are fed and taught ‘मुनीनां दशसाहस्रं योऽन्नदानादिपोषणात्। अध्या-
पयति विप्रर्षिरसौ कुलपतिः स्मृतः॥’ आद्यः श्लोकः—the first person to
employ the metre (अनुष्टुभ्). This refers to वाल्मीकि. अनुध्याता
अरुन्धती दृश् म् अनु ...दीक् —for the affix क, see notes p. 6. त्वयि
मङ्गलाय may (they) bestow blessing on you for your great wel-
fare. It will be seen later on that all the persons mentioned
in this verse contribute to bring about the reunion of Rāma
and Sītā.
In some editions this Act is called छाया. The reason is
that in this Act सीता was throughout present as if she were the
shadow of Rāma, though invisible to him. This Act is the
most important in the drama. At its commencement we see
that Sītā's heart, injured by her undeserved abandonment
under a trick, nurses a feeling of resentment and is almost
indifferent to Rāma. By a skilful manipulation of incidents
the poet shows that she is completely reconciled to Rāma at
the end of the Act. The purpose of the remaining four Acts
is to give visible effect to this unification of two hearts that
had for a time become estranged.
Act IV.
After the highly wrought feeling of the third Act, the
author relieves the tension by introducing a scene in a lighter
vein. The scene is laid in the hermitage of वाल्मीकि. The in-
cidents narrated in this Act seem to have occurred soon after
those narrated in the third. In the second Act (p 38 text)
we saw that after finishing the twelve years' sattra, Vasishtha,
his wife and the mothers of Rāma decided to go to Vālmīki's
hermitage. Their recent arrival is announced in the Vishkam-
bhaka of this Act.

120 NOTES ON [IV. 1-
P 85 भूयिष्ठ जनम् (adj of आश्रमस्य) भूयिष्ठ सन्निपाति-
जनविद्यत यस्मिन् in which many guests are present समर्थिके
आरम्भे रमणीयता charm due to great preparations Verse 1
नीवारौ चामति the deer of the penance-grove is drinking to its
heart's content the scum (gruel) of the boiled wild rice
(नीवार ), which is warm and sweet and which remains after
being drunk by its mate that has just brought forth a young
one सद्य प्रसूता चासौ प्रिया च तस्या पीताद् (पानात्) मण्ड श्वम्-
'भित्सटा दधित्तो सर्पिर्म्मात्रे मण्डमस्त्रियाम्' इत्यमर -the thick oily scum
forming on the surface of any liquid, especially of boiled rice On
उष्णमधुरम्, वीर० remarks 'उष्णत्वं हि प्रसवविह्वलशरीरतोदपरिहारकम् । प्रियत्व
च मधुरत्वे हेतु । अत एव मधुरत्वोक्ति प्रयोजनवती।' सद्य प्रियम्-this
shows that even beasts show regard to their mates when they
are in a sad condition. ०प्रसूताप्रियापीतात् seems to be irregular
We expect ०प्रसूतप्रिया Or we may say that प्रसूता is the name to be
applied to a female in a particular condition and then we may
have ०प्रसूताप्रिया० in the compound पर्याप्त adj complete, full,
पर्याप्तम् adv to one's satisfaction Construe सर्पिष्मत भक्तस्य स्फुरता
गन्धेन मनाक् अनुसृत followed (i e mixed) slightly by the spread
ing odour of the boiled rice which is full of clarified butter
मनाक् adv a little अनुसूत qualifies ०मोद सर्वतः स्तीर्यते the
fragrance of the cooking of vegetables mixed with jujube fruits
spreads round कर्कन्धूप्ररे बदरे मिश्र शाक तस्य पचन (पाक ) तस्य
वामोद आमोद a very sweet or pervading fragrance 'निर्मर्दोत्थे परि
मलो गन्धे जनमनोहरे । आमोद सोऽतिनिर्हारी' इत्यमर परिस्तीर्यते--passive
of स्तृ (9 P A.) with परि स्वागतं चारणानाम् welcome to these
persons, with grey beards, of various sorts, who are the cause of
a holiday जीर्ण कूर्चम् (beard) येषाम् सौधातनि after the manner of
young boys welcomed the arrival of guests simply because he
had a holiday when they came He did not want the old folk
for their own sake but for the holiday which their arrival
brought In ancient India, holidays were given to students on
various occasions one of which was the arrival of an eminent
guest. See याज्ञवल्क्यस्मृति I 144-151 'प्राध्य पूजिते च दिष्टे च
गृहमागते ॥' 151 (अनध्याय ) Some editions read भागतमनध्याय०
as the footnote will show There आगत means आगमने सविशेषेऽभून्
special, having a specialty about it अपूर्व गुरुपु your reason for
respecting your elders is very wonderful दाण्डायन seems to be
the older and more clever of the two So he laughs at his
companion's readiness to avail himself of a holiday

—IV. 1 ] UTTARARĀMACHARITA 121
P 86 किं नामधेयं यस्य महत् वर leader (head) of the large
body of old persons स्थविर old man धिक् प्रहसनम् fie upon your
joking ननु shows 'emphasis' अरुन्धत्या पुरस्कृतान् headed by अरुन्धती
दारान् wives दार m wife (always used in the plural) प्रष्ठिकृत्य
leading दु वसिष्ठ Is he वसिष्ठ ? (or 'I doubt whether he is वसिष्ठ')
'दुर्वितर्के परिप्रश्ने' इत्यमरः अथ किम् what else ? i. e. yes मया वैश इति
As for me I thought that he was a tiger or a wolf आ shows
'anger' येन—मडमडायिता—this is to be connected with मया पुन
&c. above—since the moment he arrived, that poor brown heifer
was devoured by him कपिला a brown cow कल्याणी-दीर्घ० ex
plains 'वत्सतरी। द्वहायनीत्यर्थे' मडमडायिता is the past pass. p. of an
onomatopoetic verb समाम्नो मन्यमाना holding in respect the
Vedic precept 'a मधुपर्क should be offered with flesh.' मन्यमाना
goes with गृहमेधिन श्रोत्रियाय मेध्यन् householders offer to a
learned Brāhmaṇa (who has performed a sacrifice) a heifer, a
bull or a big goat मधुपर्क is a respectful offering made to a guest,
bridegroom or to other distinguished persons It usually con-
sisted of five ingredients curds, clarified butter, water, honey
and sugar-candy 'दधि सर्पिर्जलं क्षौद्रं सिता चैतैश्च पञ्चभिः । प्रोच्यते मधुपर्कः'.
मनुस्मृति enumerates the persons to whom मधुपर्क was to be offered
'राज्ञर्त्विक्स्नातकगुरुन् प्रियश्वशुरमातुलान् । अर्हयेन्मधुपर्केण परिसंवत्सरात्पुनः ॥' III.
119 वसिष्ठस्मृति IV 5–8 contains the following 'पितृदेवतातिथिपूजाया-
मेव पशुं हिंस्यादिति मानवम् ॥ मधुपर्के च यज्ञे च पितृदैवतकर्मणि । अत्रैव च पशुं
हिंस्यान्नान्यथेत्यब्रवीन्मनुः ॥ नाकृत्वा प्राणिनां हिंसां मांसमुत्पद्यते क्वचित् । न च प्राणि-
वधः स्वर्ग्यस्तस्मान्मांसे यधोऽवधः ॥ अथारि ब्राह्मणाच वा राजान्याय वाभ्यागताय
महोक्षाणं वा महाजं वा पचेदेवमस्या आतिथ्यं कुर्वन्तीति॥' आम्नाय
means 'Veda, Vedic injunction' श्रोत्रिय —'जन्मना ब्राह्मणो ज्ञेयः
संस्कारैर्द्विज उच्यते । विद्यया याति विप्रत्वं त्रिभिः श्रोत्रिय उच्यते ॥' पाणिनि has a
सूत्र to explain the word 'श्रोत्रियश्छन्दोऽधीते' ५. २. ८४. वत्सतरी a
heifer (about two years old) महोक्ष —महांश्चासौ उक्षा च महोक्ष
(महत् + उक्षन्) Here उक्षन् (a bull) becomes उक्ष according to
'अचतुर &c.' पा ५ ४. ७७ (which is a very long Sūtra). 'वृषा
महामहोक्षः स्याद्' इत्यमरः. गृहमेधिनः गृहे दारैः मेधन्ते सङ्गच्छन्ते इति
N. omits महाजं, but from the quotation given above it will be
seen that the reading in the text is proper. सं हि मन्यंति for,
the authors of Sūtras on religious observances lay down this
observance. धर्मसूत्रकारा —Sūtra is an aphorism, which is preg-
nant with meaning, though expressed in the most concise way.
'स्वल्पाक्षरमसन्दिग्धं सारवद्विश्वतोमुखम् । अस्तोभमनवद्यं च सूत्रं सूत्रविदो विदुः ॥'
A sūtra is generally in prose. सूत्र works were generally
divided into three kinds, श्रौत or कल्पसूत्र, गृह्यसूत्र and धर्मसूत्र.
11

122 NOTES ON [ IV. 1–
The श्रौतसूत्राs dealt with such sacrifices as दर्श and पौर्णमास, the
गृह्यसूत्राs laid down the ceremonies and ritual to be performed
in the house with domestic fires, the five daily Yajnas, the
संस्कारs such as उपनयन and marriage. धर्मसूत्राs laid down the
rules for the various castes and आश्रमाs, for the administration
of justice &c. Some of the extant धर्मसूत्राs are those of गौतम,
आपस्तम्ब, वसिष्ठ &c. We have given above an extract from
वसिष्ठ on the killing of a heifer in honour of a guest. समामनन्ति—
from म्ना with सम् and आ 1 P to lay down or prescribe. निगृहीतः —
you are caught (or defeated in argument). This is a technical
term in the न्याय system. The following speech of सौधातकि in-
dicates how he thought he had caught his friend in argument.
निग्रहस्थान is mentioned as the last of the 16 categories of the
न्याय philosophy 'प्रमाणप्रमेयसंशयप्रयोजनदृष्टान्तसिद्धान्तावयवतर्कनिर्णयवादजल्प-
वितण्डाहेत्वाभासच्छलजातिनिग्रहस्थानानां तत्त्वज्ञानान्निःश्रेयसाधिगमः' न्यायदर्शन
first Sutra. निग्रहस्थान is defined as 'पराजयहेतुः' in the तर्कभाषा.
येन since. वसिष्ठमिश्रेषु—for मिश्र, see notes p. 3. विशसिता was killed,
past pass. p. of शस् 1 P with वि to kill, to cut up. निर्वर्त्तिता-
effected, accomplished. विसर्जिता was given up or sent away i. e.
was not killed. अनिर्वृत्त-मांसास्ते मन्यन्ते the sages lay down (lit. think)
this method in the case of those who have not given up flesh.
The words 'this method' refer to समांसमधुपर्क. मांसाद् अनिर्वृत्ता अनिर्वृत्त-
मांसा —the words are transposed on the analogy of such com-
pounds as राजदन्त. 'राजदन्तादिषु परम्' पा. २. २. ३१. (एषु पूर्वप्रयोगाईं
परं स्यात्। सि. कौ.) कल्पः rite, rule, procedure. निर्वृत्तो मांसाद्—
निर्वृत्तमांसः. दैवदुर्विपाक (lit. bad ripening of fate) misfortune.
विज्ञानास —see notes p 27. The मनुस्मृति lays down that a
वानप्रस्थ must give up flesh and must subsist on plain vegetable
diet: 'अगस्त्योद्भवशाकानि पुष्पमूलफलानि वा। मेध्यवृक्षोद्भवान्यन्नात्तेह्यद्भिः पक्वम-
–मदाम्॥ वर्जयेन्मधु मांसं च भौमानि कवकानि च।' VI. 13–14. अत्र
तपस्यमानस्य some years have passed since he began to practise
penance in the penance grove of चन्द्रद्वीप. कतिपये some (optionally
declined like a pronoun in the nom. plural) 'प्रथमचरमतयाल्पार्धकति-
पयनेमाश्च' पा. १. १. ३३. चिरन्तनः old. अद्यैव न वेति has he had an
interview with his female relatives or not? स्वयं द्रष्टव्य you
should yourself come and see the king of Videha. परस्परं मिलिताः
have met or assembled together. अनध्यायं मानयात we shall
celebrate (lit. honour) the festival of a holiday by playing.
P. 88. पुराणानामिव राजर्षीणां उपास्य having waited upon. मूलं...
निविष्ट is occupying (i. e. has seated himself at) the root of a

—IV 2] UTTARARĀMACHARITA 123
Free Verse 2 हृदि तप्ते who is tormented by the grief
about Sita that constantly clings to his heart नित्यं अनुषक्तं
अन्तः प्रमथ्य जरन् (अग्निः) यस्मिन् अभ्यन्तरस्थो like an old tree
having fire spreading in its inside (in its hollow) The read-
ing in the text is better than ज्वलन्निव as जरन् वनस्पति can be
well compared to old जनक and is more likely to have a hollow
inside where fire may burn मिश्रविष्कम्भक—Vide notes p 64
Here it is मिश्र as one of the two characters is a low one speak-
ing the Prakrit dialect This is perhaps the finest विष्कम्भ
in this drama. Pathos had been carried to the highest
pitch in the preceding Act That tension is here relieved by
the dialogue and bright smiles of two boys Verse 3
The principal sentence is मे मन्युर्न विरमति my grief does not
cease. अपत्ये व्यथया—(sorrow) that was caused (lit. clung
or stuck) by that great misfortune which befell my child
(Sita) which (दुरितेन) was hard to bear, which wounded the
heart and caused agonies The instrumentals from तेन to व्यथया
qualify दुरितेन understood. तेन (दुःखेन) विपुल (which goes with
मन्यु) दुरितम्—sin here misfortune जनक refers to the abandon-
ment of सीता on account of a scandal in the words तादृशं दुरितम्
व्रणितं हृदयं येन पटु विरहाणि which (sorrow) is poignant and con-
stantly existing (lit flowing) and which seems fresh though a
long time has elapsed धारया बहुभीरु निवृन्तन् cutting (pr p nom
sing mas of कृत् with नि). क्रकच a saw The adjectives पटु -
विरहाणि can be construed with क्रकच also which may be sharp
(पटु), which may have a cutting edge and may seem to be new
(bright) even after a long time विरमति—रम् is Atmanepadi,
but necessarily takes परस्मैपद when preceded by वि, आ and परि
'व्याङ्परिभ्यो रमः' पा 1 3 91 जरया, दुःखेन and शोकेन are to be
connected with आत्तरसासु दुरासद that is irremediable (lit.
that can be overcome with difficulty) पराक—is a kind of ex-
piatory penance. It consists in fasting for twelve days with
the mind and senses restrained 'द्वादशाहोपवासेन पराकः परिकीर्तितः।
याज्ञ० III 321 'यतात्मनोऽप्रमत्तस्य द्वादशाहमभोजनम्। पराको नाम कृच्छ्रोऽयं
सर्वपापापनोदनः ॥' मनु० XI 215 सान्तपन is another kind of expia-
tory penance 'गोमूत्रं गोमयं क्षीरं दधि सर्पिः कुशोदकम् । एकरात्रोपवासश्च
कृच्छ्रं सान्तपनं स्मृतम् ॥' मनु० XI. 212, 'गोमूत्रं गोमयं क्षीरं दधि सर्पिः कुशो-
दकम् । जग्ध्वा परेद्युरुपवसेत्कृच्छ्रं सान्तपनं चरन् ॥' याज्ञ० III 315 The
word प्रभृति includes such penances as चान्द्रायण &c. आत्त रसधातु
यस्य the fluid ingredients of which are taken up (i. e. dried).

124 NOTES ON [ IV—3
भार past pass p of दृ with आ अनियम्यमान असहय्य (support) दग्ध
नाद्यापि पतति my wretched body does not yet fall (perish)
• • • एव अद्यापि मम दग्धदेहो न
of the ingredients
retched body does
not yet fall This reading is not so easily construable as the
one in the text V and Gh read अनुपयुज्यमान which means 'that
has become useless' Some one may say 'commit suicide,
if your body does not perish of itself' To this the following
sentence furnishes a reply अथ घातिन for those who commit
suicide are arranged those worlds called अधतामिस्र which are with
out the sun अविद्यमान सूर्य येषु प्रतिविधीयन्ते—(pass of धा with
प्रति and वि) are arranged, are prescribed अन्धतामिश्र means a
particular kind of hell While commenting upon the several
kinds of hells mentioned by अमरसिंह (in सङ्गेदास्तपनावीचिमहारौरवरौ
रवा । संहारः कालसूत्रं चेत्याद्या), क्षीरस्वामी remarks 'आन्धशब्दात् तानिस्रा भता
मिखादय' Some take अन्धतामिस्रा as an adjective of लोका, mean-
ing 'having pitchy darkness' (अन्धं तामिस्रं तिमिरं येषु) This is
unnecessary as the above quotation from क्षीरस्वामी will show
Those who explain अन्धतामिस्र as above say that instead of असूर्या
we should read असुर्या (fit for or belonging to the असुरा), as
otherwise असूर्या would be superfluous when the worlds are said
to be full of blinding darkness. On our explanation there is no
such difficulty The author seems to have understood literally
the passage from the ईशावास्योपनिषद् 'असूर्या नाम ते लोका अन्धेन तमसावृ
ता । ताँस्ते प्रेत्याभिगच्छन्ति ये के चात्महनो जनाः' ऋषयः the seers of
Vedic mantras अनेक क्रमेऽपि even after the lapse of many years.
प्रति निर्मांस which is presented distinctly on account of reflect-
ing (brooding) over it every moment प्रतिक्षणं या परिभावना तथा
स्पष्टं निर्मांसं यस्य G explains परिभावना as निरन्तर, which is not
good प्रत्यग्र fresh दुःसहत्वेन agitation due to sorrow ईदृश
दायते such is the lot assigned to your birth that has developed
itself that it is not possible for me even to cry aloud (at will)
in consequence of shame सीता did not die a natural death. If
that had been so it would have been possible to cry aloud for
her without feeling shame But she was abandoned on account
of a scandal and then died Hence the shame Verse 4 This is
a fine specimen of Bhavabhuti's felicitous description of child
life The principal sentence is शिशो ते वदनकमलकं स्मरामि—I remem-
ber your delicate lotus-like face when you were a child ललित,
कुङ्मलाभम् and ०ग्रन्थिन् are three adjectives of वदनकमलकम् In the

—IV 4] UTTARARĀMACHARITA. 125
-text we should read स्खल .. चदित as one word अनियते रुदितस्मिते
(रुदितं च स्मितं च) यस्मिन्—that had smiles and cries irregularly
(without any settled causes). An infant smiles or weeps with-
out our knowing the reason why it does so विरलानि कतिपयानि
कोमलानि दन्तकुङ्मलाग्राणि (दन्ता एव कुङ्मलास्तेषामग्राणि) यस्मिन्—in which
shone the tips of a few delicate bud-like teeth. स्खलद् असमग्रत
मञ्जु (सुन्दर) जल्पितं यस्मिन्—from which fell faltering words that
were charming though ceaseless The reading मञ्जु is better than
मुग्ध because it helps to produce a charming assonance of sounds.
Compare ‘आलक्ष्यदन्तमुकुलाननिमित्तहासैरव्यक्तवर्णरमणीयवचःप्रवृत्तीन् । अङ्का-
श्रयप्रणयिनस्तनयानवहन्तो धन्यास्तदङ्गरजसा मलिनीभवन्ति ॥’ शाकुन्तल VII.
We may say that भवभूति perhaps is happier than कालिदास in the
choice of his metre and in अनुप्रास. This verse occurs also in the
मालतीमाधव X. 2. असोढाऽसि you are extremely firm (or hard-hearted).
These words convey a rebuke. The word वसुन्धरे is significant.
Being the supporter of all the earth is naturally firm. वीर० re-
marks "अत्र 'यो वा बिभर्ति काठिन्यं तस्मै भूम्यात्मने नमः' इति वचनं द्रष्टव्यम् ।
न तु वसुभगवद्रूपतैवेति । क्षमिसद्भावैश्चिन्तयितेयुक्तावनो न्यस्यते” Verse 5.
We have to understand हेपितृ after त्य otherwise, we expect a
verb in the second person plural and not in the third person
plural (as विदुः is). रथो कुलगुरुस्त्वनिष्ठः Or we may suppose
that वसिष्ठ is included under गुरुषु and construe कुलगुरुः with
भास्करः The sun, as being the first progenitor of the race, is an
object of veneration to the whole family of Raghu. सव भास्कर
the sun himself (as the highest of all the divinities mentioned).
विधां दधि—just as speech generates the lores. विदाम्—the sin-
gular is put for the class. वस्तु दैवतम् who (Sita) is a divinity
like that (i.e. the goddess of speech). Some take तद् as mean-
ing 'like the deities mentioned above'. The reading 'शुद्धिरित्यव-
दूत' is bad. जनक would never have referred to the undeserved
humiliation of Sita by the ordeal of fire, as he says further
on ‘शोकमग्निनाऽप्यसम्भूतपरिशोधने’ (p. 92 text). तया विशसनम्—
slaughter (or killing) in that way (i.e. abandoning to die on
account of an undeserved scandal). जनक, like राम, thinks that
सीता must be dead. दारुणे is addressed to वसुन्धरा कि मनुव्यथा
why didst thou endure or put up with? क्षम् 4 P. A. to endure.
गृष्टि—this seems to have been the name of the कञ्चुकी. उपदिश्यमान-
मार्ग दण्डै to whom the way is shown. उत्थाय—जनक gets up to
show his respect to अरुन्धती, the wife of the great sage वसिष्ठ निरूप्य
observing closely. धर्मदारा—धर्मपत्नी Mark the plural दारा, though

126 NOTES ON [ IV. 5-
in apposition with कौसल्या. क इति who would belive this that
she is the same? इ with प्रति to believe. Verse 6 यथा श्रीः like
Lakshmi. स्त्रीरेव पदेन or she was herself Lakshmi, what is
the use of a word showing a simile? The उपमानपद here is यथा
सैषा—these words are to be connected with जाता. कष्टं बत show
extreme sorrow. Construe सा एषा दैववशेन दुःखात्मकं किमपि अन्यदिव
भूत जाता—through the power of fate she has become as if another
indescribable being full of misery. From being like लक्ष्मी or
लक्ष्मी herself she has become a miserable being and her state is
indescribable. दुःखात्मा स्वरूपं यस्य. We may also construe in
another way—सा एषा दैववशेन अन्यदिव जाता, दुःखात्मकं किमपि भूतम्—
She has become through the power of fate, as if another, some
thing indescribably lamentable has happened. This is not,
however, very happy. We expect अस्या इव for अन्यदिव. अहो विपाकः
Oh, what a change. For विपाक see ईदृशानां विपाकोऽपि &c. (text
p. 52) and विषादे घोरेऽस्मिन्' (verse 12) below. N reads विकारः,
which is not good. मीर० explains 'विकारः प्राणिनामुपचयापचयरूपस्तद्दर्श-
विस्मयनीय इत्यर्थे.' Verse 7 मूर्तः incarnate. श्रुतेः दर्शनम् the sight
of that very person has become unbearable to me like salt
(thrown) on a wound. V. and Gh. read before this verse 'अयमपरः
पापो दशाविपर्यासः' this is another miserable (or evil) change of
condition (that has happened). This is not bad, but seems to be a
conjectural addition. क्व कुलगुरोः-यमितव्यं अनध्यवसायः—indecision,
want of resolution. N. and G. read महानध्यवसायः—this great
effort. The meaning would be—you have been asked to see
Janaka by your family preceptor, why do you require so much
effort to make up your mind to see him? The words पदे पदे how-
ever indicate that the reading अनध्यवसायः is better. संयम्य
having made steady. अनुबन्धन obey. सममेव at the same time.
सर्वाणि द्रवन्ति all the sorrows spring up. She refers to such
calamities as the death of दशरथ, the exile of राम, the abandon-
ment of सीता &c. उद्भ्रान्त (उद्+भ्रम्) मूलबन्धं यस्य—the root of which
is plucked up. पदबन्धापचितुम् to compose, to make steady. The
reading उद्भ्रान्तं is conjectural, it gives a good sense. Verse 8
मनागवाहीनि flowing in a stream (i. e. continuously). संतानेन
वहन्ति इति. सम्बन्धि हानि due to separation from relatives (in
this case from दशरथ). दृष्टे प्रेक्षणि (loc. abs.) when any person
that is very dear is seen. ओघः प्लवन्ते surge around (flow to-
gether) as if with thousands of streams. When sorrow has been
continuous for many years, it loses its nature of being unbearable.
But at the sight of persons that are dear to us, sorrow revives in

all its force and becomes as unbearable as it was when it first
befell us The reading सज्जनेषु (due to separation from a good
relative) is not good, as it introduces an unnecessary limit-
ation One feels deep sorrow though one's near relative may
not be a saint Compare for the idea 'अनपेक्ष्य रुरोद सा मृगा स्तनम-
र्थाभरणैर्वभान या । स्वजनस्य हि दुःखमग्रतो विवृतद्वारमिवोपजायते ॥' कुमारसम्भव
IV 26 वध्वा एव गते when such is the case with my daughter in-
law Verse 9 शब्दसम्बन्धी praiseworthy relative कुलोद्वह (lit,
carrying or leading) one who continues or perpetuates the
family याज्ञवल्क्य is mentioned as an expounder of ब्रह्म in the
बृहदारण्यकोपनिषद् ३/४ अध्यायाः III and IV 'जनको ह वैदेह कूर्चादुपवसर्प
भगवन् नमस्तेऽस्तु याज्ञवल्क्यानु मा शाधीति स होवाच आज्य सपक्षीत्येव
श्लोकेनैकैक इतो विमुच्यमानः स ॠद्धिमानीत्याह तद्ब्रूहि ब्रह्मेवे दन्त्र गमिष्यामस्त्वयि
न मेऽहं तद्वेदानी यत्र गमिष्यामि' बृहदारण्यकोपनिषद् IV 2 I मङ्गलरादा—see
notes p 53 जगौ (Perfect of गै) sang (i e expounded) महा-
राजस्य विशेषः who was non-different from his heart to the great
king ((दशरथ) जनक was so dear to दशरथ that he was as if
the second heart of the latter स्मारिता दिवसान् I am made to
remember (those) days that were delightful on account
of the absence of despondency अनिर्वेदेन रम्यान् She
means that in the lifetime of दशरथ, she enjoyed unmixed
happiness and therefore those days were very charm-
ing The presence of जनक who was a fast friend of दशरथ
brought to her recollection those happy days and made her
feel extremely miserable by the contrast which her present
condition afforded सर्वं नानि All that is now no more All
that happiness is a thing of the past. V and Gh read सम्भावि-
तानि दिवसे which means--I am honoured on a day on which
there is no joy अनुपस्थिते (not approached) महोत्सवे दस्मिन्
This seems to mean that Janaka paid her a visit at a time when
there was no occasion for joy (but rather for sorrow) and
that on former occasions his visits occurred when there was
some festivity going on This is not a good reading It does
not fit in the context as our reading does. The following
words 'हा देव महाराजानि' would moreover be abrupt and un-
connected with this reading
P 92 Verse 10 यदा ॰गुरुतम on account of whom, your
husband, the highest among the ancient teachers, and the
receptacle (treasure) of holy lustre, looks upon himself as
sanctified. This means—वसिष्ठ, though himself full of (Vedic)