उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

—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

outskirts! Moreover (Verse 27) (Here) while we talked
at random something indescribable in a soft whisper on
account of our great love, our cheeks being laid closely together
and one arm of each locked up in a close embrace, the night
itself passed away, its hours flying away unnoticed.
Lakshmana—Here is Surpanakha in Panchavati.
Sita—Alas my lord, this is the last time I see you.
Rama—You that are afraid of separation this is a picture.
Sita—Be that as it may, a wicked person causes
unhappiness.
Rama—Good heavens! the incidents at Janasthana appear
as if they were taking place just now.
Lakshmana—(Verse 28) Then the wicked Rakshasas
resorting to the stratagem of a golden deer acted in such a
way that even now it grieves us though avenged (or remedied)
On account of the behaviour of my lord in the lonely
Janasthana, in which his senses were overpowered, even the
stone weeps, even the heart of adamant breaks.
Sita—(With tears to herself) Oh king! gladdener of
Raghu's race, thou wast so much afflicted for my sake.
Lakshmana—(Looking meaningly at Rama) My noble
brother, what is this? (Verse 29) These thy tears, like a
broken necklace of pearls, which, creeping along the ground
in shattered drops, roll in streams. Though restrained, the
emotion, which by its excess inflames (lit. fills) thy heart
can be inferred by others by the throbbing of the lips and
the nose.
Rama—Dear brother. (Verse 30) The fire of grief
which was caused by separation from my beloved, though
sharp, was at that time endured through a longing for
revenge, but being now re-kindled in my heart, it gives me
pain like a wound piercing the vitals of the heart.
Sita—Alas! Alas! I also through sorrow gone to
excess seem to behold myself separated from my lord.
Lakshmana—(To himself) Well, I will turn (the atten-
tion) to some other part. (Looking at the picture—aloud)
Here is a representation of the exploits and valour of the
revered father Jaṭāyu, the vulture king as old as one Manu.
Sita—Alas father, your fatherly love was carried out
to the end.

—I 30] UTTARARÂMACHARITA 197
Rama —Alas father, descendant of Kasyapa, king of
birds, where again can arise a great holy saint, like thee ?
Lakshmana —This is that part of the Dandaka forest
to the west of Janasthâna, called Chitrakunjavan, inhabited
by the headless demon Danu. Here is that hermitage of
Matanga on the mountain Rishyamuka, and here is that
saintly female of the Sabara tribe named S'ramana, this is
the lily pool called Pampa
Sita —It was here indeed, that my lord wept aloud,
losing his resentment and courage
Rama — Queen beautiful is this lake (Verse 31) On
this lake, in the intervals between the falling and rising of
tears, I beheld the tracts having white lotuses, which trembled
with their broad stalks being shaken by the wings of the
Mallikaksha geese singing indistinctly through joy, as full of
blue lotuses
Lakshmana —Here is the noble Hanuman
Sita —Here is that magnanimous Maruti, a great bene-
factor in that he rescued from its grief the whole world of
living creatures though it (rescuing) was carried out after
a long time
Rama —(Verse 32) Happily, it is he of mighty arms,
the increaser of the joy of Anjana, by whose prowess we as
well as the whole world are blessed (have attained our ends)
Sita —Dear brother, what is the name of this mountain,
on whose flowering kadamba trees the peacocks are dancing,
where, under a tree, my lord is painted with his glory dim-
med, all but his beauty and noble mien being gone, and
during a momentary fainting fit supported by you who
were weeping?
Lakshmana —(Verse 33) This is that well known
mountain called Malyavan, fragrant with the flowers of the
kakubha tree, on the top of which a fresh cloud is resting,
blue and glossy On this, my lord—
Rama —Desist, desist from this, I can endure no more,
that separation from Janaki seems to have returned for me
Lakshmana —Hereafter are represented the countless
exploits, each more wonderful than the other, of my noble
brother and of the noble monkeys and rakshasas, but the
queen here is tired, therefore I request that we take rest

198 TRANSLATION OF [ I. 33–
Sītā—My lord, by looking at this picture I have con-
ceived a longing and I have a request to make.
Rāma—Rather command me.
Sītā—I feel (wish) that I should once more wander in
those calm and majestic ranges of the woodland and that I
should again bathe in the divine Ganges, a plunge in which is
holy, purifying and cool.
Rāma—Dear Lakṣhmaṇa.
Lakṣhmaṇa—Here I am.
Rāma—The elders have just sent word that her longing
should be immediately gratified. Therefore prepare a chariot
that does not jolt and moves agreeably.
Sītā—My lord, you too should accompany me there.
Rāma—Oh hard-hearted one, do you need tell me
even this?
Sītā—Then am I pleased.
Lakṣhmaṇa—As my lord commands. (Exit Lakṣhmaṇa)
Rāma—Dear one! Let us sit here awhile near the
window.
Sītā—So be it. I am indeed overpowered by drowsiness
produced by fatigue.
Rāma—Therefore cling closely to me for accompanying
me there (when the chariot would come). (Verse 34) Let
there be thrown round my neck, as if reviving me, thy arm
covered with drops of perspiration, produced by excitement
and fatigue, and so having the splendour of a necklace of
moon-jewels pouring forth dew when kissed by the lunar rays.
(Helping her to do so with delight) my dear, what is this?
(Verse 35) I cannot decide whether it is pleasure or pain,
or stupor or sleep, or the creeping of poison or intoxication,
for whenever I touch thee, emotion distracting all my senses
clouds my mind, and shuts it up.
Sītā—It is your constant love for me, what else can
it be?
Rāma—(Verse 36) These kind words, lotus-eyed one,
that cause the withered flower of my life to bloom again,
delight me, and fascinate all my senses, are like nectar to my
ears and the elixir of my mind.
Sītā—Sweet-speaker, let us lie down for rest. (Looks
about for something to sleep on)