महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

11] Synoptic Analysis of the Play

once perceives that it is a sacrificial horse, and the boys, from inquiry,
learn (iv. 27) that it is let loose by Rāma, ‘the foremost hero of the
seven worlds’. The youthful Lava, incensed at this supposed insult
to his own heroism asks his companions to capture the horse (iv. 28¹ ᶠ.).
Enters an enraged soldier to prevent the capture. Lava makes ready
to fight (iv. 29). Exeunt all.

ACT V. PRINCES IN COMBAT

TRANSLATION, PAGES 73–81.

In the short interval—an hour or so—between this Act and the last, Lava
has utterly routed the army.
Scene 1 (v. 0¹—v. 36²). An open space near Vālmīki's hermitage. Enter
Chandraketu in a chariot, and Sumantra his charioteer. Chandraketu
has heard of the fight and is hastening to the rescue (v. 1). He cannot
help admiring Lava's appearance and courage (v. 2, 3, 5) and feels
abashed to find that Lava singly has defeated the whole army (v. 6³).
Chandraketu now invites Lava for a personal combat (v. 7). Enters
Lava, bow in hand, leaving the army, who, however, continue to harass
him (v. 8⁴, v. 10⁴) the moment his back is turned upon them. Finding
no other way to stop them, Lava makes use of the magic missiles ¹
(v. 12² ᶠ.). The hubbub in the army is now at an end (v. 13) and the
two youths meet face to face (v. 15³). Chandraketu courteously offers
Lava a chariot (v. 28²), which Lava as courteously, but not without
a mixture of pride, declines (v. 28⁶). Lava adds that the fight was
partly forced upon him (v. 29) by the insolent vaunting (iv. 27) of the
attendants of the horse. Chandraketu wonders if Lava really believed
himself superior to the great Rāma (v. 29¹, 34). Lava, who knew the
Rāma story well, replies that no great man need be absolutely perfect,
and mentions a few weak points (v. 35) in Rāma’s earlier career.
This provokes Chandraketu and both repair to a place where they can
fight undisturbed (v. 36¹).²

---

at the end of Scene 2, and now come to
the centre.
¹ Called jṛmbhaka or stupefying. Their use,
so naturally brought in, plays an im-
portant part in the final recognition in
Acts vi and vii.
² According to the canons of Hindu drama-
turgy, combats could not be represented
on the stage.