उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

७-२० ] उत्तररामचरितं १५७
तामेतां परिभावयन्त्यभिनयैर्विन्यस्तरूपां बुधाः
शब्दब्रह्मविदः कवेः परिणतां प्राज्ञस्य वाणीमिमाम् ॥ २० ॥
( इति निष्क्रान्ताः सर्वे । )
इति सम्मेलनं नाम सप्तमोऽङ्कः ।
इति महाकविश्रीभवभूतिविरचितं
उत्तररामचरितं नाम नाटकं समाप्तम् ।
उत्तरार्धेन स्ववाणीप्रयोजनमाह-तामिति । बुधाः ज्ञातारः । 'ज्ञातुर्बुधाः'
इत्यमरः । परिणतां प्रख्यातनां परिनिष्ठिताम् । विन्यस्तरूपां विशेषेण
व्यथेतिलोकेष्वप्रचुरेनेति यावत् । न्यस्तानि...इति वत् ( ? ) वस्तुचमत्का-
रानुगुण्येन निवेशितानिरूपाणि पात्राणि यस्याम् । अत एव एनां 'चित्रस्मिर्तिक-
स्थापकावस्थिताथ' इति 'चित्रितशबला.' इत्यमरद्विकमार्गी । तां रामकथा रूपा-
वाट्ताम्, प्रसिद्धा वा । इमां प्राज्ञस्य पदवाक्यप्रमाणपण्डित्येति । शब्दब्रह्म
वेत्ति विदः । 'शब्दब्रह्मणि निष्णातः परं ब्रह्माधिगच्छति' इति स्मरणात् ।
कवेः भवभूतिनाम्नो मम । वाणीं नाटकमयीं वाचम् । अभिनयैः देशेन
पटनरटनप्रचारणामिनन्दनादिभिः । 'प्रचारणादौ भावात्दर्शनेऽभिनयो मतः'
इत्यमरः । परि परितः । 'परि साकल्ये दोर्मेऽपि' इति केदारः। भावयन्तु
एलादयन्तु । 'आदरे रटने च स्याद्भावना' इति जयः । अलमतिविस्तरेण ॥
इतिमहाराजपदनर्हणर्तुक्षजिराजगृह्यामात्येन मौनभार्गवकुलाङ्गारचन्द्र-
दीप्तोरोराव्यजीपुत्रेण कौण्डिन्यगोत्रपरावरानिस्टुलवीस्तुभतिम्माम्बिवाळाम्बिके-
हितेन काशीमहादेवतनुजेन शाण्डम्मरिपरमहंसचिदम्बरब्रह्मानुजेन नवरससुधा-
निशासितुरचतुरधिकदशद्विप्रवन्धिपदरामापामन्द्याटतदीपददवर्णलिसमदम्पूना-
सरमाटिकादलितनलकूबनधोरन्ध्रीपारीणेन गोतगायासहस्रचतुष्टयदिब्यदेवीना-
टवृत्तिपिकल्पकेन दुर्जनातिनिन्द्येन सजनाभिनन्द्येन सुन्दरीकनटाजानिना
कवयञ्च.सर्वेश्वरसरस्वतीनामत्रयमण्डितेन श्रीमत्तनयनीनिधीयवावरण एवार्थ-
परिपूरिते उत्तररामचरितसञ्जीवनाट्यटिप्पणौ सप्तमोऽङ्कः सम्पूर्णः ॥
॥ इति घनश्यामपण्डितविरचिते उत्तररामचरितसञ्जीवनख्याटिप्पने सप्तमोऽङ्कः॥
१ 'परिणतप्रज्ञस्य' क-घ-व
१४३०

NOTES.
——————*——————
Act I.
(THE PAGE IN THE NOTES REFER TO THE TEXT )
P 1 All Sanskrit writers generally introduce their works
with a salutation or benediction This (Mangala as it is called)
is supposed to be necessary for the removal of obstacles and the
safe completion of the work undertaken Bhavabhuti follows
this practice. As to the efficacy of Mangala, see Mahabhashya
'माङ्गलिक आचार्यो महतः शास्त्रौघस्य मङ्गलार्थं वृद्धिशब्दमादितः प्रयुङ्क्ते मङ्गला-
दीनि हि शास्त्राणि प्रथन्ते वीरपुरुषाकाणि च भवन्त्यायुष्मत्पुरुषाणि चाध्येतारश्च
सिद्धार्था यथा स्युरिति' (Kielhorn, Vol I p 7) Construe—आत्मनः
कलाम् अमृताम् देवतां वाचम् विन्देम (-हि) इदं पूर्वेभ्यः कविभ्यः नमोवाकं प्रशास्महे
इदम् is the object of प्रशास्महे and has 'विन्देम—कलाम्' in apposition
with it कविभ्यः शङ्कन् having made an obeisance to former
poets The poets referred to are such as Valmiki Vyasa and
others Some explain that Valmiki alone is referred to and that
the plural is used only to show the great respect in which the
author holds Valmiki This, however is not a natural way of
explanation V and R read गुरुभ्यः for कविभ्यः, which makes very
little change in the meaning नमोवाकम्—is an adverb to
प्रशास्महे It may be explained in several ways It is a gerund in
अम् (णमुल्) from वच् नम इति वक्त्वा नमोवाकम् The affix णमुल् is
applied to roots, either standing alone or in conjunction with
other words, in various senses such as repetition, entirety &c,
e g स्मारं स्मारं नमति शिवम् (स्मृत्वा-स्मृत्वा), ब्राह्मणवेदं भोजयति (यः यः ब्राह्म-
णानभोजन) 'आभीक्ष्ण्ये णमुल् च' पा० ३ । ४ । २२ and the following
Sutras नमोवाकम् may also be explained as 'नमः (शब्दस्य) वाकः
उच्चारणं यस्मिन्कर्मणि तद्यथा तथा' In this latter case वाक is a noun
formed from वच् with the affix घञ् प्रशास्महे—we wish, we pray
The root शास् (2nd conj ) is परस्मैपदी but when preceded by आ in
the sense of 'wish,' it takes आत्मनेपद 'आङः शासु इच्छायाम्। आशास्ते,
आशासाते। मातृपूर्वकं प्रादिकम्। तेन 'नमोवाकं प्रशास्महे' इति सिद्धम्।' सि कौ
Here though प्र is the उपसर्ग used instead of आ, the sense being
the same, the root takes आत्मनेपद विन्देम (Pot. 1st person pl
of विद् 6th conj ) may we obtain. अमृताम्—immortal. Speech
being called देवता must be said to be immortal. Or we may ex-
plain that, as, according to the Purvamimansa, the relation of

2 NOTES ON [ I. 1-
word and meaning is eternal, the goddess of speech which is the
अधिष्ठात्री of words must be eternal also. आत्मनः कलाम् which is
an aspect (or phase or part) of the Supreme Soul. The Vishnu
purana says that poetical utterances, songs &c. are the body of
the Lord Vishnu 'काव्यालापाश्च ये केचिद्गीतकान्यखिलानि च । शब्दमूर्तिधरस्यै
तद्वपुर्विष्णोर्महात्मनः ॥' विष्णु० I. 22. 84. N and G read वन्देमहि च तां
वागीम्. This reading is not bad. With this reading however,
the first half of the verse would cause some difficulty, since we
shall have to construe as पूर्वेभ्यः कविभ्यः इदं नमोवाकं प्रशास्महे. प्रशास्महे
would simply mean ब्रूमहे. We shall have further to take इदं
(which is neuter) with नमोवाक (either an adverb or a masculine
noun in the accusative).
It will be noticed that G explains the first half as contain-
ing a salutation to Ganapati. ब्रह्मणस्पति is addressed in the ऋग्वेद as
'कवीनां कविः' and is identified by G (as many other orthodox wri-
ters do) with गणपति. G further says that the plural कविभ्यः is
used to show respect. This is not a natural explanation. There
is no reason why the plural should not be used with respect to
वागी also. वीरे० gives various far-fetched explanations of this
verse, for which see pp. 7-8 of N. The words आत्मनः कलाम् may
be taken as suggesting the principal characters of the drama,
राम and सीता.
P. 4. नान्द्यन्ते at the end of the नान्दी. नान्दी means a benediction,
consisting of one or more verses which constitutes a sort of pro-
logue to a drama. नन्दन्ति देवाः सत्यामिति नान्दी. It is defined by भरत
as 'आशीर्वचनसंयुक्ता नित्यं यस्मात्प्रयुज्यते । देवद्विजनृपादीनां तस्मान्नान्दीति संज्ञिता'
(नाट्यशास्त्र ५. २४) or 'आशीर्वचनसंयुक्ता स्तुतिर्यस्मात्प्रयुज्यते । देवद्विजनृपादीनां
तस्मान्नान्दीति संज्ञिता ॥' साहित्यदर्पण (6th परिच्छेद, 24th verse). From
the stage-direction (नान्द्यन्ते), it is clear that the verse 'इदं कविभ्यः'
&c., is the नान्दी here. As the words नान्द्यन्ते सूत्रधारः occur after the
introductory verse a question arises as to who recited that verse
and why the words follow the verse and do not precede it. It
seems to us that the verse was recited by the सूत्रधार himself, but
as that verse was really no part of the drama itself being intend-
ed as a benediction the word सूत्रधार does not precede the first
verse. The real business of the drama commences after the intro-
ductory benediction. These words (नान्द्यन्ते सूत्रधारः) have puzzled
many writers and various explanations have been offered. The
साहित्यदर्पण says 'अत एव प्राक्तनपुस्तकेषु 'नान्द्यन्ते सूत्रधारः' इत्यनन्तरमेव
'वेदान्तेषु' इत्यादिश्लोकप्रदर्शनेन दृश्यते । यच्च पश्चात् 'नान्द्यन्ते सूत्रधारः' इति लिख्य-

— 1 1 ] UTTARARĀMACHARITA. 3
{ इत्ययमभिप्रायः - नान्द्यन्ते सूत्रधार इदं प्रयुक्तितवान्, इतःप्रभृति मया नाटकमु-
पादीयते इति कवेरभिप्रायं सूचित इति " Similarly वीरराघव says 'नान्द्या पूर्वो-
क्ताया समाप्तौ सूत्रधारः प्रविष्टाहेति शेषः' जगद्धर, in his comment on
मालतीमाधव, gives a long note on the words नान्द्यन्ते सूत्रधारः भरत
distinctly says that the नान्दी is to be recited by the सूत्रधार and
that it is to consist of eight or twelve पदs 'सूत्रधारः पठेत्तत्र मध्यमं
स्वरमाश्रितः । नान्दीं पदैर्द्वादशभिरष्टाभिर्वाप्यलंकृताम् ।' ( नाट्य० 5 98 )
What पद means here is a disputed question The ordinary
meaning is 'a word' ( सुप्तिङन्तं पदम् । पा० 1 4 14 ) This would
mean that नान्दी is not to exceed 8 or 12 words. But in many
dramas there are नान्दीs containing two or three verses Hence
some interpret पद to mean a quarter of a verse There are
dramas, however, where none of these meanings will do, e. g. the
first verse of the विक्रमोर्वशीय, of the शाकुन्तल &c. It seems probable
that N and G read 'वन्देमहि च तां वाणीं' to satisfy the definition of
नान्दी. The verse in the text contains only eleven words, while
as read by N and G it contains twelve. अल- रेण enough of
prolixity अलम् in the sense of 'enough of' 'away with,' governs
the instrumental. शार- यात्रायाम् in the fair held in honour of
Śiva. Most editions read कालप्रियानाथस्य काल means शिव and कालप्रिया
would mean पार्वती कालप्रियानाथ would thus be शिव वीर० com-
menting on महावीर० says "कालप्रियानाथस्य कालप्रियानाम्निकाम्बिकापतेः ।
कालप्रियनाथस्येति स्थानविशेषानुवृत्त पाठः प्रचुरो दृश्यते । तत्राप्ययं पूर्ववद्-
'उमापतेः सङ्कन्दमोर्मोदकम्' इति नेष्टा रहस्यम्वदवृत्ते " राजशेखर in his काव्य-
मीमांसा (p. 94) says that कालप्रिय is a city to the north of which
is गाधिपुर (i. e. Kanoj). So कालप्रिय is probably उज्जयिनी, where
there is a famous shrine of Śiva. In ancient India it was
usual to exhibit dramatic performances at the time of fairs
and other festival The मालतीमाधव also was introduced to the
audience for the first time at the fair of Śiva. R comments
'कालप्रियनाथो नाम दिग्वेशु पद्मन्गरे प्रतिष्ठितो दस्यमूर्तिविशेषः । तस्य यात्रायामुत्सवे
नाटकभिःभगवतः कालप्रियनाथस्य पुरतः प्रथममभिनीतमासीद्' आर्यमिश्रान्—vide
note, जगद्धर quotes from भरत 'कुलं शीलं दया दानं धर्मः सत्यं कृतज्ञता। अद्रोद्द
इति चैतेनज्ञानायांसू समुच्यते ।' मिश्र is an honorific title affixed to the
names of famous scholars e. g. मण्डनमिश्र, वाचस्पतिमिश्र, पार्थसारथिमिश्र
अत्रभवन्त—The words अत्रभवन् and तत्रभवन् are epithets of honour,
the former applied to a person who is present, the latter to one
who is not present. 'पूज्ये तत्रभवानत्रभवांश्च भगवन्मदिः' G seems to
have separated अत्रभवन्त into अत्र भवन्त. वीर० also says 'अत्रभवन्तः
पूज्या इत्यर्थः । देवा अत्र अन्तिकारे भवन्त पूज्यनित्यर्थे ' ऽदेवत्वादस्यान्दन्त-

4 NOTES ON [I 1-
who had the title श्रीकण्ठ by way of distinction. श्रीकण्ठ इति पदं
लाञ्छनं यस्य. G explains in another way 'who was devoted to
the feet of Siva. It seems that the poet's original name was
भवभूति and that later on he was given the title of श्रीकण्ठ. वीर०
reverses this order and says that श्रीकण्ठ was his real name and
that he was called भवभूति by a king who was pleased with a
verse of the poet. Vide com. R. says 'शेषाशिफणिफणाकिरीटनाङ्गारेवी
निलशालस्य कण्ठे भवतीति मत्वा तदानीन्तनेन भवभूतेः श्रीकण्ठ इति विशेषणं
परिकल्पितम्.' पद ज्ञः who knows the sciences of Grammar,
Logic and Mīmānsā. पद means 'an inflected word' and stands
for Grammar which deals with words. वाक्य a sentence. Logic
deals with sentences and the fallacies that lurk in them.
प्रमाण means 'authoritative means of knowledge.' The मीमांसा
(both पूर्व and उत्तर) deals with शब्द and other प्रमाणs. वीर०
on महावीरचरित says 'पदवाक्यप्रमाणज्ञो व्याकरणतर्कमीमांसावित्.' Accord-
ing to others वाक्य stands for मीमांसा (because मीमांसा helps
one to understand Vedic passages which often appear con-
tradictory) and प्रमाण for तर्क (logic). Compare 'पदावगतिहेतु-
त्वात्पदं व्याकरणम्। वाक्यसमन्वयावभावहेतु वाक्यस्य मीमांसा। प्रमाणप्रवृत्तिविकारि-
त्वात्प्रमाणं तर्कः।' मुकुल in अभिधावृत्तिमातृका (verse 13). जातूकर्णीपुत्र son
of a woman who was sprung from जातूकर्ण्यगोत्र.
भरत says that the poet's name should be mentioned 'प्रख्यातं
रङ्ग विनिविष्टदेनांम च कीर्तयेत्। प्रस्तावनां ततः कुर्यात्काव्यप्रख्यापनाह्वयाम्॥'
(नाट्य० 5. 151). Similarly the साहित्यदर्पण says 'रङ्गे प्रसाद्य मधुरैः
श्लोकैः काव्यार्थसूचकैः। कृतस्य कवेराख्या गोत्राद्यपि स कीर्तयेत्॥'
Verse 2-ब्रह्मणे=ब्राह्मणम्. 'वेदस्तत्त्वं तपो ब्रह्म ब्रह्मा विप्रः प्रजापतिः'
इत्यमरः. The propriety of the word is twofold. भवभूति wants to
place emphasis on the fact that he scrupulously performed the
six duties of a ब्राह्मण viz. यजन, याजन, अध्ययन, अध्यापन, दान and प्रति-
ग्रह. The word ब्रह्मन् also suggests प्रजापति, whose wife सरस्वती is
represented to be. इयम्-This may mean 'well known to all'
वश्ये वशंवदे follows like an obedient wife or like a woman enamour-
ed. N reads मा व्यवर्तत (Imperfect of वृत् with अनु) which is bad, as
the word अस्ति has been already used. N reads वशंवदः. We may
then construe इव with यम्, यमेव (नान्यं कमपि कविं) इव देवी वाक् वेश्या
(मती) अनुवर्त्तते. But this is not quite happy and there is दुरात्वय.
उत्तर चरित्र-The latter part of the life or history of Rāma.
This drama is a complement of the महावीरचरित which deals with
the events of Rāma's life up to his installation on the throne
of Ayodhyā. प्रणीतं-तेन ब्रह्मणा प्रणीतं-composed by that (ब्राह्मण

—I 2] UTTARARAMACHARITA 5
( भवभूतिः) Full comment of G which disapproves of the reading
in the text and prefers यद्गताम्. The idea of G is that भवभूति,
the antecedent, being mentioned in the words 'अस्ति &c the
verse should contain only relative clauses. The reading in the
text may be defended as follows :—भवभूति is no doubt already
mentioned. But there is no harm if we take the first half of
the verse by itself and understand तत्प्रणीतं &c as a separate co-
ordinate sentence to अस्ति खलु &c. प्रयोक्ष्यते Will be represented
(by us). The reading प्रयुज्यते is not bad. The present is also
used when an act which is to happen immediately in the future
is intended to be expressed. With the words वाग्वश्यैवानुवर्त्तते,
compare महावीरचरित I. 4 'वश्यवाक् कश्चिदन्यः सा च रामाश्रया कथा।'
P. 5 कार्यवशात् ... सङ्गतः here have I become a sojourner in
Ayodhya for some purpose as well as one living at the time
(when Rama was crowned). The Sutradhara throws off his
real character as a person belonging to the place where the
drama was acted and says that he is now an inhabitant of
Ayodhya, where he has accidentally come for some business.
This would explain his words on p. 6 'वैदेशिकोऽस्मीति' &c. T
explains 'कार्यवशाद् नाट्यप्रयोगानुरोधात्'. This would not properly
account for the words 'वैदेशिकोऽस्मीति' on p. 6 below. N
reads कविवशाद् (at the poet's bidding) which would come to
the same thing as the explanation of T. There are various ways
in which the business of the drama can be introduced on the
stage. Here the dialogue between the Sutradhara and Nata
refers to Rama and Sita in the 7th verse and paves the way
for their appearance. आयोधकः—from अयोध्या by the sūtra वुञ्
according to 'द्व्यचः कोपधाद्बुञ्' पा० ४ । २ । २१ (धन्यविशेषवाचिनो वृद्धाद्बुञ्
स्यात्। सि. कौ.) and 'शृङ्गारिभि बहुवचनविषयात्' पा० ४ । २ । २७ आयोधिका
(अयोध्यासम्वन्धी) may be explained on the analogy of माध्यामिक.
तदानीन्तन =रामपट्टाभिषेककालीन. भगवन् goes with रामस्य. पौलस्त्य-
केतोः (रामस्य) who is the fire (destroyer) of the family of रावण.
रावण was the son of विश्रवस्, who was the son of पुलस्त्य, one of
the प्रजापतिs. 'प्रजापतेः सुता ह्यासन् षट् तु चक्षुषोऽन्तरेऽभवन्। मानसो ब्रह्मणः पुत्रः
पुलस्त्य इति विश्रुतः ॥ पुलस्त्यस्य तु तेजस्त्री महर्षिर्मानसः सुतः। नाम्ना स विश्रवा
नाम प्रजापतिसमप्रभः ॥ तस्य पुत्रो विशालाक्षि रावणः शत्रुरावणः।' रामायण सुन्दर०
23. 6-8. धूमकेतुः fire (धूमो हेतुश्चिह्नं यस्य वा सः) 'आशुपाती धूमकेतुः'
इत्यमरः. धूमकेतु means also 'comet', the appearance of which was
supposed to be a precursor of calamities. Rama may be also
called a comet to the family of पौलस्त्य (indicating the destruc-

tion of that family) रात्रिंदिवम् (रात्रौ च दिवा च रात्रिंदिवम् irregu-
lar द्वन्द्व according to the Sutra 'अचतुर' &c पा० ५ । ४ । ७७, which
is a very long one) by day and night, constantly अस नांदीक*
(an adj of समय) in which the joyful music was not to be dis-
continued अमृष्टा आनन्दनांदी (आनन्दसूचिका नांदी मङ्गल) यस्मिन् (बहु-
व्रीहि) The affix क is added to बहुव्रीहि compounds when the last
member is a feminine noun ending in ई or ऊ or a noun ending
in ऋ 'नद्यृतश्च' पा० ५ । ४ । १५३ रुद्रराम cited by Gh explains नांदी as
the 'symphony of 12 drums beaten at the same time' (एकदा द्वाद-
शमृदङ्गघोषो नान्दी) तत् therefore किमिति स्थानानि why is it that the
squares (public streets) are now without the singing of bards ?
विश्रान्ता चारणा येषु चारण a wandering singer, actor (चारयन्ति
कीर्त्तिम्) 'भरता इत्यपि नटाश्चारणास्तु कुशीलवाः' इत्यमर चत्वर (मराठी
च व्हाटा) a place where four roads meet, also royal court yard
'अङ्गनं चत्वराजिरे' अमर 'चत्वरं स्वास्थ्यां क्षेत्रे अङ्घ्रीङ्गाङ्गनयोरपि' हैम G
seems to have read ०चरणानि, the meaning, then, would be 'in
which there are no people moving about भाव-is a term of
address used in dramas showing respect 'भावो विद्वान्' इत्यमर
मान्यो भावेति वक्तव्य विविध्यूनस्तु मारिष ' quoted by जगद्धर प्रेषिता
were sent (this goes with ०शाखामृगा, ब्रह्मर्षय, राजर्षय) Separate हि इत
(from this place i e from अयोध्या) ०स्वगृहान् (accu plu mas of
स्वगृह) is the object of प्रेषिता गृह is ordinarily neuter, but may
be masculine when the plural is used महाराजेन - रामेण सह।
सुहृद friends in the war in Lanka (against रावण) सुग्रीव &c
monkey सभाजनाय or सभाजने उपतिष्ठन्ति ते सभा भाविन who wait-
ed upon him for greeting or congratulating him (राम) This
qualifies ब्रह्मर्षय and राजर्षय The reading समानोपभादिन would
mean who waited upon him in groups or 'who waited upon
him in the assembly This is not a happy reading सभाजनम् is
derived from the root सभाज् 10th conj 'अथ दे आनन्दनसभाजने ।
आपृच्छनम्' अमर नाना गता that had come from various quarters
(नानादिग् भेभ्य आगता) The reading नाना पावना (purifiers of
various quarters) is not appropriate here महर्षय वसिष्ठगौतमादय,
राजर्षय जनकादय There were various grades of sages कवि, महर्षि,
देवर्षि (like नारद) &c य समारोधनाय for pleasing whom (येषां समा-
राधनाय) इयतो दिवसान् (accusative of time) for so many days
P 6 आ is an interjection implying 'recollection' here
'आ स्मरणेऽनुकम्पाया मोरसन्तापयोरपि' मेदिनी निमित्तम् reason (why
there was no music in the squares) As all the guests had
gone away the festivities came to an end न खलु and there is

—I 3] UTTARARÂMACHARITA 7
another (reason). Verse 3 वसिष्ठेन अधिष्ठिता headed by वसिष्ठ.
He was the family priest of the solar race. G takes वसिष्ठाधि-
ष्ठिता as बहुव्रीहि, but we expect in that case अधिष्ठितवसिष्ठा. देव्यः
queens. The word देवी is applied to a crowned queen. राघव-
मातरः mothers of Râma e. i. कौसल्या, सुमित्रा and कैकेयी. राघवः रैवः,
a descendant of रघु here राम. अरुन्धतीं पुरस्कृत्य having placed in
their front अरुन्धती (the wife of वसिष्ठ). The word जामातुः may
be connected both with यज्ञ and आश्रमम्. Or we may supply सति
after यज्ञे, the meaning being there being a sacrifice. आश्रम is
to be connected with गता.
वैदेशिको ऽस्म्यतः I am a foreigner therefore I a. L.
Some Mss. change the order of speakers here. After the
third verse the सूत्रधार is made to say एवमेतत् and the words
वैदेशिकोऽस्मि &c are put in the mouth of the नट and the passage
from कन्यां दशरथो राजा to उत्स्रिष्टवान् is assigned to the सूत्रधार.
This does not seem to us to be proper. The नट does not
appear to be वैदेशिक. When the सूत्रधार inquires why the
squares are silent it is the नट that gives him the information
that राम's mothers are gone to the आश्रम of the son-in-law.
Having given that information himself it does not seem
proper that he should himself ask who the जामाता was.
Verse 4 न्यवीविशत्—Aorist of the causal of विश् with नि. अपत्य-
कृतिकाम्—who was treated as a child. अपत्यस्य कृतिकार्या यस्याः
or अपत्याव कृतं प्रज्ञा दत्त्वा. The affix क is optionally added to all
बहुव्रीहि compounds. रोमपाद was king of अङ्गदेश. The रामायण seems
to say that शान्ता was the daughter of रोमपाद himself and not
of दशरथ. 'वयस्यस्ताविहागत्य गणिकाभिर्ऋष्य शृङ्गं । आनीतोऽश्वसदन् शान्ता
चास्मै प्रदायते ॥ ऋष्यशृङ्गस्तु जामाता पुत्रांस्त्व विधास्यति ।' बालकाण्ड 9. 18-19.
See also बालकाण्ड 11. 2-3. It is the विष्णुपुराण that distinctly
says that दशरथ gave his daughter to रोमपाद 'अम्पादात्पुत्रो दशरथः
शान्ता नाम कन्यामनपत्याय दुहितृत्वे सुप्रीतः।' विष्णु० IV. 1-. ऋष्यशृङ्गः—
According to रामायण बालकाण्ड (chapter 9 ff.) he was brought
up by his father in the forest and he saw no other human-being
till he reached manhood. When a great drought devastated the
country of अङ्ग the king रोमपाद caused ऋष्यशृङ्ग to be brought to
him through the seductive charms of damsels and gave शान्ता to
him in marriage. ऋष्यशृङ्ग being pleased caused copious rain in
अङ्ग. It was this sage who performed the sacrifice for दशरथ
which caused the birth of राम and his three brothers. उपयेमे
married. यम् is Parasmaipadi, but when preceded by उप in the

tive base however, is चित्तविकार 'मान्-वध्-दान्-शान् भ्यो दीर्घश्चाभ्यासस्य'
पा० 3 1 6, a वार्तिक on which says 'वधेर्चित्तविकारे' The ablative
येभ्य is used in connection with बीभत्समाना according to the वार्त्तिक
'जुगुप्सा विराम प्रमादार्थानामुपसंख्यानम्' (on पा० II 3 25.) (verbs having
the sense of disgust, 'cessation, 'error govern the ablative)
विश्राम्यन्ति take rest repose मनीषिण wise men. 'धीरो मनीषी ज्ञ प्राज्ञ '
इत्यमर मनीषिन्-मनीषा अस्य अस्ति इनि (मनीषा + affix इन्) In the
जाबालोपनिषद् we read 'अथ पुनरव्रती वा व्रती वा स्नातको वाऽस्नातको वा
उत्सन्नाग्निरो वा यदहरेव विरजेत्तदहरेव प्रव्रजेत्' रामभद्र-The word भद्र is
used by elderly persons when addressing young persons It in-
dicates some superiority in the persons using it When दशरथ
ruled the कञ्चुकिन् was in the habit of addressing prince राम in
this way The same familiar mode of address occurs to him now
but he recollects that राम is no longer a mere prince but king
कञ्चुकिन् is generally an old and trusted ब्राह्मण attendant on the
womens apartments. भरत uses the form कञ्चुकीय 'ये विप्रा सत्य-
सम्पन्ना कामदोषविवर्जिताः । ज्ञानविज्ञानकुशलाः कञ्चुकीयास्तु ते स्मृताः ॥'
नाट्यशास्त्र 24 59 उपचार mode of address मां प्रति towards me
तत्-therefore यथाभ्यस्तम् (अभ्यासमतिऋम्य-अव्ययीभाव )-as you are
accustomed to do अभिधीयताम् Imperative third per sing pass of
धा with अभि ( to speak or address ) This sentence shows the
kindness and courtesy of राम to his servants अष्टावक name of a
sage (अष्टौ वक्राणि यस्य) We have अष्टावक in accordance with 'अष्टन
मज्ञायाम्' पा० 6 3 125 (उत्तरपदे दीर्घ । अष्टापद ) आर्य गम्यते--This
is addressed to कञ्चुकी-Sir, why then do you delay ? सन्ति
governs the dative 'नमः स्वस्तिस्वाहास्वधालंवषड्योगाच्च' पा 2 3 16
इत आस्ताम्-This is a polite way of saying sit here सजामातुकस्य-
The son in law referred to is ऋष्यशृङ्ग अपि कुशल-Is it all right ?
अपि Introduces a question निर्विघ्न गृह Is it all right with
revered ऋष्यशृङ्ग, my brother in law and habitual drinker of
सोम ? निर्विघ्न निर्गान्ता विज्ञा यस्मात् सोमपीथी-सोमस्य पीथः पानं अस्य अस्ति
इनि सोमपीथिन् Some editions read सोमपीति (सोमस्य पीतं पानं अस्य अस्ति
इनि सोमपीतिन् ) which means the same thing क्षीरस्वामी comment-
ing upon अमरसिंह reads सोमपीथी and n t ०पीती and remarks
'सोमपीथी तु प्राच्या पाठः । सर्वदायम्, दीक्षितस्तु तच्छीलम्' It explains
'कृतसोमलता रसपान यथाऽनुष्ठितसोमयाग' इत्यर्थ ' आवुत्त-sisters hus-
band. N reads भावुक , which means 'auspicious' 'भावुकं भवितृ
कुशलं क्षेममस्त्रियाम्' इत्यमर अप्यानू स्मरति Or does she remember
us ? G, N and Ch read अस्मानपि स्मरति (does she remember
us also) अथ किम् (हन्त what else ) yes just so कुलगुरु precep-
tor of the race (of solar kings)

Page 9 Verse 9 विश्वम्भरा—विश्वं बिभर्ति इति—the earth
(which supports all) The word is formed according to the
Sûtra 'संज्ञायां भृ-वृ-जि-धारि-सहितपिदम' पा० 3. 2 46 (विश्वम्भर । विश्वं
म्भरा । रदन्तर साम । पतिंवरा कन्या । सि को ) असूस्त—Imperfect 3rd
per sing of सू 2nd con A. This line alludes to the story of
the birth of सीता from the furrowed earth, for which see p
10 above प्रजापतिना ब्रह्मणा समं तुल्यं or प्रजापतिभिः सम प्रजापति
may mean either Brahma' or one of the ten (or nine) मानस
पुत्रs of the creator 'अथान्यान्मानसान्पुत्रान् सदृशानात्मनोऽसृजत् ॥ 4
भृगुं पुलस्त्यं पुलहं क्रतुमङ्गिरसं तथा । मरीचिं दक्षमत्रिं च वसिष्ठं चैव तान्दशान् ॥ 5
नव ब्रह्माण इत्येते पुराणे निश्चयं गताः । विष्णुपुराण 1 7 and मार्कण्डेयपुरा०
50 4-6 जनक is spoken of in the उपनिषदs as a ब्रह्मविद् and as
one who had attained मोक्ष 'अभयं वै जनक प्राप्तोऽसि' Construe
(हे) नन्दिनि, तथा पार्थिवानां त्वं वधूः असि येषां कुलेषु सविता गुरुः वयं च
(गुरवः) नन्दिनी making happy daughter वसिष्ठ may, of course,
address सीता as नन्दिनी वधू daughter in law गुरु—one
deserving to be honoured, a preceptor The kings referred to
are those like दशरथ who were scions of the solar race The
plural वय is used by वसिष्ठ either because he is a great sage or
because he includes विश्वामित्र, वामदेव along with himself among the
preceptors of the solar race तत्-- श्यामहै therefore, what else
shall we wish for you? As सीता was born of such a noble mother
as the earth and such a magnanimous and wise king like जनक,
and as she was a daughter in law of the high born and prosperous
solar kings, she was wanting in no good quality, and therefore it
would have been superfluous to desire that she should be good or
wise or prosperous. So वसिष्ठ says केवलं भूया (I only wish that
you may give birth to a hero) आशास्महे—for the आत्मनेपद, see
notes on प्रशासाहे above. वीर प्रसवः यस्याः भूया benedictive of
भू अनु स we are favoured or obliged The plural is
used because राम is a king Verse 10 लौकिकानां धावति for, the
speech of ordinary righteous men follows (is in keeping with)
the facts, but the facts follow (arrange or accommodate them
selves to) the words of the primeval sages. Here the words
लौकिकानां साधूनाम् are put in contrast with आद्यानामृषीणाम् The
word लौकिक is usually opposed to वैदिक Ordinary righteous
men have to ponder over what they have to say and after
settling what to express, they adjust their speech to what is to
be said, if they do not follow this procedure, their words would
be like the ravings of mad men and will not come to be true.
2

14 NOTES ON [ I. 10—
But whatever the primeval sages (who are the seers of Vedic
hymns) may say even by chance comes out to be true on ac-
count of the great store of their merit, they have not to adjust
their speech to the facts of the world. राम says —वसिष्ठ is one
of the primeval seers of Vedic hymns, when he pronounces a
benediction that सीता may give birth to a hero, his words are
sure to be fulfilled. Hence the verse लौकितानां &c. constitutes
the reason why राम says 'अनुगृहीता स्मः' The idea is similar to
the one in the शाकुन्तल IV 'भगवन् परवानयं, नाशीः' Compare
IV. 18 below. The निरुक्त says 'साक्षात्कृतधर्माण ऋषयो बभूवुः' वीर० com-
ments 'तपस्विनामुक्तिषु तपःप्रभावेणानुकूलमर्थमुत्पादयतीति भावः' R. com-
ments प्रसन्नानामृषीणां मुखाद्यदेव निःसरति तपःसिद्धिफलेन तदेव फलति न कदा-
चित्तदुक्तं निष्फलं भवतीति भावः' इदम्—this is in apposition with
the sentence यत्किञ्चित् वितथ्य. अरुन्धती was the wife of वसिष्ठ.
देवीभिः refers to the mothers of राम. यत्किञ्चित् whatever (it
may be). गर्भदोहदं longing of pregnancy. दोहद is said to be
neuter by अमर but other lexicographers say that it is mas-
culine also. 'अथ दोहदम् । इच्छा काङ्क्षा स्पृहेहा तृट्' इत्यमरः (on
which क्षीरस्वामी says 'अपमिच्छामानस्यापि विशेषतः गर्भिणीच्छायां
प्रयुज्यते') Both G and N seem to have read गर्भदोहदोदय
(appearance of the longings of pregnancy) which is not bad.
अस्याः —सीतायाः अनिभृत् without delay. संपादयितव्य —should be
fulfilled. किञ्चिते कथयति it (longing) will be fulfilled if she will
tell (what it is). राम intimates that सीता being shy does not
speak out what longings she has and means that if she expresses
them he would fulfil them at once. This reading is better than
the reading of K and Gh यदेषा कथयति, (whatever she says will
be done) as the former brings out prominently the shyness of
सीता. ननान्दुः पत्या by the husband of your sister-in-law (शान्ता).
The person referred to is ऋष्यशृङ्ग. देव्याः refers to सीता. The
genitive is used for the dative. कठोर गर्भासि you are not
brought (to the sacrificial session) because you are far advanced
in pregnancy. A woman should not set out on a journey
from the eighth month of pregnancy 'दानादि भ्रमणं चैव मासादष्टमात् स्त्री
न चादिशेत्' नतोऽसि रामभद्र —ऋष्यशृङ्ग being a great sage and the
husband of राम's elder sister addresses him so. त्वयि सन्नि-
has been left (there near you) for diverting you. तत् therefore.
पुत्रेण पूर्णं उत्सङ्गं (lap) यस्या. इति marks the end of the message
of ऋष्यशृङ्ग. भगवता दिशेोऽसि does not the revered वसिष्ठ send any
command to me ? The word आदिष्ट used by राम in contradistinc-

—I. 10 ] UTTARARAMACHARITA. 15
tion to the word सन्दिष्ट used by भगवान् above shows राम's
attitude of great modesty towards वसिष्ठ.
P 10 Verse 11 गमागमेन refers to the सङ्ग of
कश्यपः. निरुद्धा detained. त्वं बालः एवासि you are but a child.
नवं च राज्यम् ( power of ) governing the country is new to
you. भूयः स्याः be devoted to keeping the subjects contented.
Construe तस्माद् यत् (स्यात्) यत् ( यशः ) त ( सुश्लाघं स्पृह्यं ) परमं
धनम् or तस्माद् यत् यशः (भवतु) (तत्) त परमं धनम्. From that
( i e by keeping the subjects contented ) glory would arise,
which is your highest wealth. G. seems to have read सत्त्वाय
for तस्माद्यश The construction then is यत् (यस्मात् ) तत् सत्त्वाय
यश परमं धनम्—since to you glory is wealth higher ( more prized )
than even your own life. This is not a bad reading but the
construction becomes rather involved. Compare about यशः ‘अपि
स्वदेहात्किमुतेन्द्रियार्थाद्यशोधनानां हि यशो गरीयः’ रघु. 14. 35. Note verse
41 below. यथा वहति Just as the revered वसिष्ठ ( son of मित्र
and वरुण) commands. Rama means that what वसिष्ठ says is quite
right and will be followed by him. मैत्रावरुणी —मित्रावरुणयोः अपत्यं पुमान्
इति मैत्रावरुणिः. When names of deities form a द्वन्द्व compound the
ending अ of the first member is lengthened according to the
सूत्र ‘देवताद्वन्द्वे च’ पा० 6. 3. 26. (मित्रश्च वरुणश्च मित्रावरुणौ) For a brief
allusion to the story of वसिष्ठ's birth from मित्र and वरुण, see
रामायण उत्तरकाण्ड सर्ग 57 'तद्धि तेजस्तु मित्रस्य उर्वश्यां पूर्वमाहितम् । वसिष्ठस्य
नमकुम्भे ततोऽग्रे यत्र वारुणम् ॥ कस्यचित्त्वथ कालस्य मित्रावरुणयोस्ततः । वसिष्ठस्त-
जमा पुत्रो यज्ञे इक्ष्वाकुदैवतम् ॥’ 6-7. Verse 12 सौख्यं worldly happi-
ness. जानकीमपि—These words are a presentiment of the future
abandonment of सीता by राम. On the propriety of the word
जानकीमपि, वीर० remarks ‘सौगान्धिलतुष्ट्या जानकीभिक्षुस्तिक्षोभाराधनायेषया
मङ्गविषमतमत्वानुरोधोऽप्यतिशितर इति सूचयति.’ मुञ्चत qualifies मे. व्यथा
pain, anguish. This verse forms the key to the real nature of
राम. It is not to be supposed that राम was hunting for popular
applause. His readiness to abandon all that is dear to the
human heart was not born of a craving for cheap popularity,
but was the outcome of his high ideal of a king's duty viz
that a king should not wish to be exempt from the national rules
of morality and conduct which he would compel his subjects to
abide by. अतः पुत्र Hence is it that my lord is the support (or
the best ) of the family of the Raghus. This sentence shows
that सीता fully appreciated राम's ideals and was not behind him
in nobility. She does not betray resentment at the thought of

10 NOTES ON [ I. 12-
her abandonment by राम for pleasing the people, on the con-
trary she highly commends him for the sentiment विश्राम्यताम्
(Pass imperative of the causal of शम् with वि) give him rest or
refreshments The entrance of लक्ष्मण is intimated to the audi-
ence by
name o
deeds
P 11 जानामि नोद्देजयितुम् you know how to amuse the queen
(सीता) who is all at ease दुर्मनायमाना pr part of दुर्मनायते which
is a denominative verb from दुर्मनस् according to the Sūtra 'कर्त्तुः
क्यङ् सलोपश्च' पा० 3 1 11 (दुर्मना इव आचरति दुर्मनायते) सीता was
all at ease on account of जनक's departure तत् यावत् how far
does it reach? राम asks —Up to what point does the painting
depict my career? यावद् governs the accusative यावद् शुद्धि (it
goes) as far as the purification of her ladyship in fire For
this ordeal see p 9 above शान्तं पापम् lit let evil be averted,
here, hush, do not utter this evil talk about सीता' ससान्त्ववचनम्-
with words that will mollify (सीता) Verse 13 उत्पत्ति नान्तरे
of what use are other purifying things to her who is pure by
birth? अन्यत् पावनं पावनान्तरम् सीता by being born of the earth
was already pure, what further purity can fire impart to her?
तीर्थो इत holy water and fire do not deserve to be purified by
anything else Just as तीर्थोदक and वह्नि do not require anything
else to purify them, so सीता who was pure by birth really stood
in no need of purification by fire That she was made to
undergo the ordeal of fire was solely for the purpose of falling
in with the popular demands Compare महावीरचरित IV 27
where दशरथ says to परशुराम 'निसर्गतः पवित्रस्य किमस्त्यामन तव । तीर्थोदकं
च वह्निश्च नान्यतः शुद्धिमर्हतः ॥' देवयजनसम्भवे (adjective of देवि) sprung
from the sacrificial ground देवा इज्यन्ते अत्र इति देवयजनं यज्ञभूमिः
देवयजनात् सम्भवः यस्या सा देवयजनसम्भवा See above p 10 for the
reference to सीता's birth from यज्ञभूमि and compare महावीरचरित I
20 'लाङ्गलाग्रविदारितायाः यज्ञभूमेः समुद्गता । सीतेत्यमूर्त्तिमा नेव द्वितीया जनका-
त्मजा ॥' प्रसीद be pleased, pardon me एष प्रवादः this talk (scandal)
about you will last as long as you live जीवित अवधि (अन्त०) यस्य
Verse 14 कष्टो रञ्नीय the harsh world must be pleased by men
whose wealth lies in the reputation of their family यशः धनं येषां
ते On कष्ट R explains 'खलवृत्तितया कष्टहेतुः जनः' राम means that
those who care for the good name of their family have to
humour the people even though the latter are hard to please

[-I. 14] UTTARARĀMACHARITA 17

and very much prone to spread scandals. The reading of E.
कष्टं जनः is better. It means 'alas! people are to be humoured &c.
राम pities the lot of those who like himself have to humour the
people and have to do things which their heart disapproves of.
N reads 'दुष्टं जनः' which does not yield a happy sense. तन्मो चै
therefore the abusive talk that was spoken by us (me) was not
such as you did deserve. राम means—he treated सीता coldly
and repudiated her because he had to look to what the people
would say. His conscience told him otherwise. But he admits
here that he knew all along that she did not deserve the treat-
ment that he had to mete out to her. For the words of राम see
रामायण quoted above on p. 9. तत् तस्मात् यद् न (अस्माक) अशिवमुक्तं तद् हि
वै तव (सीतायाः) न युक्तम्. V. and Gh. read तन्मे for तन्मो, which means
the same thing. नैसर्गिकी पाडनाने Being placed on the head is
settled to be the natural condition of a fragrant flower and not
trampling under foot. राम means that the treatment of सीता
was as unnatural and harsh as the trampling down of a sweet
flower would be. The last two lines occur in मालतीमाधव 9 15,
where we read मुर्मत्नैव दुष्टनाम्ने आलेपनम् painting, picture. के
पुमन् who are these that stand above very close (to each other)
and seem to praise my lord? निरन्तर close, thick. सरहस्यानि to-
gether with the charms (the mantras appropriate for discharg-
ing the missiles or withdrawing them etc.) जृम्भकास्त्राणि—lit.
yawning missiles—weapons possessed of miraculous powers.
शैषिक-विश्वामित्र उपसङ्क्रान्तानि were transferred or handed over.
प्रसादीकृतानि were bestowed as a favour. आर्यपुत्र refers to राम ताटका
was the daughter of a यक्ष called सुकेतु who got her from ब्रह्मा as
a reward for his austerities. She was married to सुन्द. Her son
was मारीच. When सुन्द was killed, she with her son मारीच tried
to disturb अगस्त्य who cursed मारीच to be a राक्षस and changed
ताटका into a man-eating fiend. She, though a woman, was kill-
ed by राम at the bidding of विश्वामित्र. For the story of ताटका see
रामायण बालकाण्ड सर्गः 25-26. विश्वामित्र, being pleased with राम for
destroying the horrible ताटका, gave him various missiles, for
which see बालकाण्ड सर्गः 27-28. The gods say to विश्वामित्र 'प्रजापतेः
कृशाश्वस्य सुतान् सत्यपराक्रमान् । तपोबलभृतो ब्रह्मन् राघवाय निवेदय ॥' सर्ग 26
29-30, 'परितुष्टोऽस्मि भद्रं ते राजपुत्र महायशः । प्रीत्या परम्बा युक्तो ददाम्यस्त्राणि
सर्वशः ॥' सर्ग 27 2, 'जृम्भकं सर्वनाथं च पञ्चाननमथो तथा ॥ दूराच्चधैव्यमन्त्रान्
मास्तराम्कामसूरिः । प्रतीच्छ मम भद्रं ते पात्रभूतोऽसि राघव ॥' बालकाण्ड सर्ग 28
9-10 The अस्त्रs says to राम 'राम प्राञ्जलो भूत्वाऽभ्यन्तरपुरमाविश । इमे

18 NOTES ON [ I. 14—
स नरशार्दूल शाधि किं करवाम ते ॥ गम्यतामिति तानाह यथेष्टं रघुनन्दन ॥ मानसा
वार्धकालेषु साहाय्यं मे करिष्यथ ॥’ सर्ग 28 13-14 It will thus be seen
that जृम्भक was only one among the numerous अस्त्रs bestowed by
विश्वामित्र Compare महावीरचरित I ‘यानि हि भगवतः कृशाश्वादुरुपचार्योऽन्ते
र्वासितस्य सरहस्यजृम्भकप्रयोगसंहारस दिव्यास्त्रमन्त्रपारायणस्य विद्यातत्त्वबीजानि, तानि
मत्प्रसादादयं त शश्वदात्मना च रामभद्रस्य संप्रति प्रकाशन्ताम् ।’
P 12 Verse 15 ब्रह्मोदय is the subject of अपश्यन् गुरव
पुराणा is in apposition with ब्रह्मोदय एतानि is the object of
अपश्यन् तेजांसि is in apposition with एतानि Translate--the old
and venerable ब्रह्मा and others, having practised religious aust-
erities for the benefit of religious truth ( Veda ) for more than
a thousand years, saw these ( अस्त्रs ) which were the splendours
of their own austerities ब्रह्माण वेदस्य हिताय ‘वेदस्तत्त्वं तपो ब्रह्म ब्रह्मा
विप्र प्रजापति’ इत्यमर परः सहस्रा —सहस्रात् परा —is an irregular
compound and qualifies शरद It is formed according to the
सूत्र ‘सुपा’ पा 2 1 4 The स् after पर is put in on the analogy of
words like पारस्कर (पा० VI 1 157) and पर is placed first in
accordance with the सूत्र ‘राजदन्तादिषु परम्’ पा० 2 2 31 शरद is
acc plural ( accusative of time ) शरद् f autumn, year
अपश्यन्—is used in a technical sense The ऋषिस are not re
garded by Indian writers as creating the Vedic hymns, they
are supposed to have only seen by intuition the eternally
existing Veda ऋषय are said to be मन्त्रदृष्टार and not मन्त्रकर्त्तार .
The अस्त्रs were nothing but the तेजस् manifested from their
own severe austerities तपोमयानि—तपस आगतानि कार्यकारणभावात्तप
न्नामशान्ता तानिदर्शनम् The verse occurs in महावीर० I. 42, where
we read परः सदस and एतान्यदर्शन् सर्वथे स्वासन्ति they ( the अस्त्रs )
will now by all means wait upon your offspring See VII
9 10 below मिथिलावृत्तान्त The occurrences at Mithila (with
reference to राम) मिथिला was the capital of the country of
विदेह The reference is to राम’s arrival in मिथिला with विश्वामित्र
Supply वपुष्मद्भिः after सौभाग्येन दलद् विकसद् नव नीलोत्पल तद्वद्
श्यामलं स्निग्ध etc —(endowed) with grace of form that is musc
ular, shining, smooth, unctuous ( स्निग्ध ), and dark like a
fresh expanding blue lotus G reads दलित (expanded). विस
येन स्तिमित तात (जनक) तेन दृश्यमाना सौम्या सुन्दरा च श्री यस्य—
whose agreeable and charming beauty is being seen by my father
who was dull with wonder The wonder was due to the fine
form of राम and to his great prowess in breaking into two the
bow of शिव G reads ० शाननगरनन्दयमानसोमसुन्दर श्री —whose love-

-I 15 ] UTTARARÂMACHARITA. 19

liness as charming as that of the moon was being seen by the
citizens and by my father &c. तातेन नगरजनेन च दृश्यमाना सोमवत्
(चन्द्रवत्) सुन्दरा श्री यस्य. अनादरेण (लीलया) खण्डितं शङ्करस्य शरासनं धनुः
येन—who easily broke the bow of शिव. As to this see रामायण
बालकाण्ड सर्गः 66-67. After the destruction of दक्ष's sacrifice, शिव
deposited his bow with देवरात, an ancestor of जनक. जनक
worshipped it and when सीता's hand was sought by numerous
kings, he said that he would give his daughter to him who
would be able to wield that bow of शिव. No king could do it.
राम wielded the bow and broke it while making it strung.
'लीलया स धनुर्मध्ये जग्राह वचनान्मुनेः ॥ आरोपयत् स धर्मात्मा सलीलमित्र तद्धनुः ॥
15 आरोपयित्वा मौर्वी च पूरयामास तद्धनुः ॥ तद्बभञ्ज धनुर्मध्ये नरश्रेष्ठो
महायशाः॥' बालकाण्ड 67 16-17 शिखण्डेन मुख्यं मुखमङ्गलं यस्य whose
face was charming on account of the lock of hair शिखण्डः a
lock of hair left on the crown or sides of the head at tonsure
शिखाभिरित्यते इति शिखण्डः. काकपक्ष means the same thing as शिखण्ड
Verse 16 On सम्बन्धि R. says 'सन्निहितेन वैवाहिकेने सम्बन्धेनेति शेषः'
शतानन्द was the son of the sage गौतम and अहल्या. जनक was the
name of the family. The name of सीता's father was सीरध्वज The
latter half occurs in महावीर० I 19
P. 13 सुश्लिष्टम्—quite proper Some editions read इष्टमेतत्
which does not convey anything striking. Verse 17. कस्य न
प्रियः to whom is it not dear (i. e. it is liked by everybody) ?
दत्र—यस्मिन्सम्बन्धे दाता who gives away (सीता in marriage) ग्रहीता
who accepts (सीता as a daughter in law on behalf of दशरथ from
जनक) कुशिकनन्दन—विश्वामित्रः. R. remarks 'तयोभयोरेव कुल्योः
पूज्यत्वात्प्रशस्तेव कन्यादानमहादो समुन्नताश्च तस्मिन्दातृग्रहीतृत्वोपचारः न पुनर्व-
सुतम एव दातृग्रहीता च.' In महावीर० I. 57 कुशध्वज repeats this verse
to विश्वामित्र with the variation 'बन्ध्याप्रतिभूर्भवान्' for अय &c. See
वीर० for the suggestion contained in the words जनकानां &c. दृष्टा^
इव गोदान मङ्गल येषाम् whose auspicious गोदान ceremony had been
performed just at that time गोदानमङ्गल the ceremony of cutting
the hair, which was performed upon a man just before marriage.
It was also called केशान्त. याज्ञवल्क्य says 'केशान्तश्चैव षोडशे' I. 36,
on which the मिताक्षरा says 'केशान्तः पुनः गोदानाख्यं कर्म यन्गोदानस्य
षोडशे वर्षे ब्राह्मणस्य कार्यम्.' मल्लिनाथ commenting upon रघु० 3 33
'अथास्य गोदानविधेरनन्तरं विवाहदीक्षा निरवर्तयद्गुरुः' says 'गावो रोमाणि केशा
दीयन्ते खण्ड्यन्तेऽस्मिन्निति व्युत्पत्या गोदान नाम ब्राह्मणादीनां षोडशादिषु वर्षेषु
कर्त्तव्यं केशान्ताप्यं कर्मोच्यते' and then quotes मनुस्मृति II. 65 'केशान्तः
षोडशे वर्षे ब्राह्मणस्य विधीयते । राजन्यबन्धोर्द्वाविंशे वैश्यस्य द्वयधिके शततः॥' R.

20 NOTES ON [I 17—
explains गोदान differently 'विवाहश्राद्धं गोशिरोरूपो मङ्गलहेतु क्षत्रियाणा
माचारविशेषः' According to this गोदानमङ्गल was an auspicious rite
performed in the case of क्षत्रियस before their marriage consisting
in the gift of cows. From the रामायण it seems that the latter is
the more appropriate meaning 'स गत्वा निलयं राजा श्राद्धं कृत्वा विधानतः ।
प्रभाते कल्पमुत्थाय चक्रे गोदानमुत्तमम् ॥ गवां शतसहस्रं च ब्राह्मणेभ्यो नराधिपः ।
एकैकशो ददौ राजा पुत्त्रानुद्दिश्य धर्मतः ॥ सुवर्णशृङ्गयः सम्पन्नाः सवत्साः कांस्यदोहनाः ।
गवां शतसहस्राणि चत्वारि पुरुषर्षभ ॥ पितॄन्मनुष्य सुबहु द्विजेभ्यो रघुनन्दन । ददौ
गोदानमुद्दिश्य पुत्राणां पुत्रवत्सलः ॥' बालकाण्ड 72 21 *4 विवाहादीक्षिता that
had undergone the ceremony initiatory to marriage. एवम् just
so; i. e. I also feel the same as you. Verse 18. समय इवैष this
is as it were the same time. समनन्दयत्—The subject is करः सुमुखि
is addressed to सीता. गौतमेन (शतानन्देन) (मम हस्ते) अर्पितः—placed
by गौतम (in my hand). आ कङ्कण round which was the grace-
ful marriage bracelet. आगृहीतं कमनीयं कङ्कणं येन or यस्मिन्. G. ex-
plains differently that was held respectfully by me and that
had a charming bracelet on. V. and Gh. read उद्गृहीत०, which
comes to the same thing. The metre of this verse is मञ्जुभा-
षिणी. इयमार्या—this refers to सीता. माण्डवी was the wife of
भरत, श्रुतकीर्त्ति of शत्रुघ्न. As सीता and माण्डवी were the wives of
लक्ष्मण's elder brothers राम and भरत, he speaks of them res-
pectfully as भार्या. As शत्रुघ्न was the younger brother of लक्ष्मण,
श्रुतकीर्त्ति is spoken of as वधू (daughter in law). 'वधूभ्रांतृजा स्नुषा
स्त्री च' इत्यमरः. 'पिता हि भवति ज्येष्ठो धर्ममार्गस्य जानतः ।' अयोध्याकाण्ड,
72 33, see मनुशासनपर्व 105 ९० as to the respect paid to the wife
of the eldest brother. सीता and ऊर्मिला were the daughters of
जनकसीरध्वज and माण्डवी and श्रुतकीर्ति of कुशध्वज, younger brother of
सीरध्वज. 'भरतो नाम कैकेय्या जज्ञे सत्यपराक्रमः । 13 अथ लक्ष्मणशत्रुघ्नौ
सुमित्राऽजनयत्सुतौ । 14 बालकाण्ड सर्ग 18. वत्स कः। Dear one! who is
this other? सीता referred to ऊर्मिला, wife of लक्ष्मण and jestingly
asked लक्ष्मण about her. सच्छलस्मितम्—'सखीविषयप्रश्नाल्लज्जा स्मिते च' Gb.
अन्यतः संचारयामि I shall divert her (mind) to something else (i. e.
I shall direct her eye on some other incident in the painting.)
The commentator says that the stage—direction अपवार्य्य in the
text is wrong, it should be स्वगतम्. अपवार्य 'aside apart to
another', speaking in such a way that no other character on
the stage except the one addressed may hear it. Here लक्ष्मण
speaks to himself and addresses no one else. प्रकाशम्—openly.
'सर्वश्राव्यं प्रकाशं स्यात् ' भार्गव descendant of भृगु, here परशुराम.

P 14 संभ्रमेण with agitation. संभ्रमेण सह यथा स्यात् (अव्ययी-
भाव ) परशुराम on hearing that राम had broken asunder the
bow of शिव was extremely enraged as he was a pupil of शिव
He challenged राम to string another bow which परशुराम had
and which was वैष्णवधनु He further said that if राम could
make the वैष्णवधनु strung he would fight with him As परशुराम
had destroyed the क्षत्रियs twenty-one times दशरथ and the
ladies of राम's family were extremely afraid as to the
result of the meeting Then Rama made the bow strung
and fixing an arrow upon it asked परशुराम what he (राम)
should shoot at whether परशुराम's गति or the लोकs that he had
secured by तपस् परशुराम asked him to shoot at the latter See
बालकाण्ड सर्ग 75-6 for this episode सीता, on seeing भार्गव's
picture felt as if she was in the presence of भार्गव in flesh and
blood and therefore says कम्पितास्मि अयमत्रापार्येण—लक्ष्मण wanted
to say that राम deprived परशुराम of his लोकs, whereupon the
latter became जड and void of all glory As the रामायण says
'जडीकृते तदालोके रामे वरधनुर्धरे । निर्वीर्यो वीर्यसम्पन्नो रामो दाशरथिंनृपम् ॥ तेजो-
भिर्हतवीर्यत्वाज्जामदग्न्यो जगाम ह।' बालकाण्ड सर्ग 76 11-1° साक्षेपम्—
with the object of finding fault (with लक्ष्मण). राम did not like
that he should be praised and that the defeat of a great
personage like परशुराम should be dwelt upon So he shows by
his tone in saying 'अयि वत्स' &c that he is displeased. The
reading पाथेयम् is better It means in order to throw off
(divert) the attention to something else विनोदनहास्येन विनया-
तिशयेन एते प्राप्ता Here are we come back to अयोध्या (from
मिथिला after the marriage of राम and others) सास्रम् अस्रै सह यथा
स्यात् तथा—with tears. Verse 19 जीवत्सु ताते when our revered
father was living and we were but just married तच्छपादेषु—The
plural of पाद is affixed to show great respect or veneration
दारान् परिग्रह lit accepting of wife. मातृभि गता gone are those
days of ours when we were anxiously looked after by our
mothers Verse 20 जानकी is the subject of अश्रून् in the third line
The principal sentence is दशनमुकुले दुग्धालोक स्मित दधती जानकी अङ्गै
मे अत्यन्त कुतूहल वहत The first line qualifies समुदुरै पदन लोलन्
(having a face) lovely in consequence of her bud like teeth that
were wide apart because of the falling (of some of them) and that
had on the sides (of the face) her beautiful locks waving about
मन्द उन्मन्त मनोहरा कुन्तला (केशाः) येषाम् बधाना (रन्धाः) मुकुला इव
मुग्ध सुन्दर मनोज्ञ दर्शन यत् 'आलोके दर्शनेक्षोद्यौ' इत्यमर शिशु

22 NOTES ON [ I _
a child, this goes with जानकी दधती f. nom. sing. of दधत् । २ ।
था It seems from the रामायण that सीता was only six years old
when she was married see अरण्यकाण्ड 47 'उषित्वा द्वादश समा
इक्ष्वाकूणां निवेशने । 4 मम भर्ता महातेजा वयसा पञ्चविंशकः ॥ 10 अष्टादश
हि वर्षाणि मम जन्मनि गण्यते ।' 11 Hence the words शिशु and पतन-
विरलै are very appropriate. When children are about six years
old some of their teeth fall. The teeth of a child being small
and tapering may be well compared to buds (मुकुल) ललित-
नितं extremely lovely. Where intensity is to be expressed an
adjective of quality is repeated 'प्रकारे गुणवचनस्य' पा 8. 1. 12.
ललित अङ्गकै She caused delight to my mothers by her sweet
limbs that were extremely lovely, made as if from moonlight
(i. e. so cooling and delightful) and the gestures of which were
natural (not artificial). अकृत्रिमा विभ्रमा येषाम्. अकृत—Aorist of
कृ अङ्गकै —क is added to express the sense of अल्प. Some editions
read प्रतनुविरलैः, which means small and not dense. This is not
bad. We may also look upon तनुन्दलैः as standing by itself and
not as an adjective of मुकुलैः. In that case the reading प्रतनु
विरलै alone would he appropriate and not पतन०. (मुखस्य) प्रान्तयोः
कपोलयोः उन्मीलन्तः मनोहराः कुन्तलाः तैः दशनमुकुलैः (च) सुभालोकं मुखम्
face that was lovely on account of the fine hair waving over the
cheeks and on account of the bud-like teeth. N reads प्रान्तोत् कुन्तलैः
दशनकुसुमैः, which is a good reading. The teeth that were left
are compared to कुसुमस. Those that were just making their ap-
pearance in place of those that had fallen are compared to
buds. G seems to read मन्दारोचम् of dull aspect or with a dull
light. This is a bad reading. अकृत्रिमविभ्रमे—सीता being a child
at the time had not learnt the coquetries of youth. N reads
अज्ञानां मे, which is not so good as अम्बानां मे. राम remembers the
old days with regret and refers to his parents in the preceding
verse. It would be more in keeping with those memories of the
past that he should refer rather to the delight of his mother
than to his own. The metre of the verse (हरिणी) is very appro-
priate to the sentiments expressed. एषा मन्थरा—मन्थरा was the
hump-backed nurse or servant of कैकेयी, who instigated her
mistress on the eve of राम's installation as युवराज, to beg of
दशरथ by the two boons formerly promised by him the banish-
ment of राम for fourteen years and the installation of भरत as
युवराज. See अयोध्याकाण्ड 7-11. सत्वरं दर्शयन्—Rama quickly
pointed out to another incident as he did not want to say a
word in disparagement of his step-mother कैकेयी.

1 P. 15. Verse 21. शृङ्गवेरपुरे—Some editions read शृङ्गवेरे,
which is supported by the Bombay edition of the रामायण•
'समुद्रमहिषीं गङ्गामारराधोदकान्विताम् । जाह्नवीं सह भ्रातृभ्यां शृङ्गवेरपुरं प्रति ॥
२७ सुमन्त्रमब्रवीद्रामस्तैहिरात्रं वने वसामहे ॥ २८ अविदूरादयं नया बह्वपुष्पफलोदवान् ।
उमहानिङ्गुदीवृक्षो वसामोऽत्रेति सत्वरे ॥' '१ तत्र राजा गुहो नाम रामस्यात्मसमः
सखा । निषादजात्यो बलवान्स्थपतिश्चेति विश्रुतः ॥ ३५' अयोध्याकाण्ड सर्ग 50.
निषाद—name of one of the wild aboriginal tribes of India.
The instru. sing. of पति is पत्या but when compounded पति is
declined like the word हरि 'पतिः समास एव' पा० १ ४ ८ (पतिशब्दः
समासे नह घिसंज्ञः स्यात् । पत्या पत्ये पत्युः पत्यौ । समासे तु भूपतिना । क्षि-
त्त्या ) स्निग्ध affectionate. मध्यमा नैव His honour (राम) has
passed over the account of our second mother कौशल्या was the
eldest of the three queens and कैकेयी was next to her. There
is a suggestion also that she was only मध्यमान्बा and not उत्तमान्बा
(an excellent mother). The reading अन्वर्तिष्ट of G means the
same thing. It is the p. p. p. of वृत् with अन्व्. जटा वृत्तान्त
the incident of tying up the hair The reference is to the fol-
lowing passage from the रामायण अयोध्याकाण्ड सर्ग ५२ 'नैशानीं गृह
क्षीरोदेन बाणो मे सत्वरे वने । अयमद्याश्रमे वासः कर्तव्यश्चाद्यमे विधिः ॥ सोह
गृहीत्वा क्षीरं न्यग्रोधशिखरन्यग्रोधम् । दिनकामः पितृर्भूयः सीतायाश्चैव लक्ष्मणः च ॥
जटाः कृत्वा गमिष्यामि न्यग्रोधक्षीरमानय । तच्छीरं राजपुत्राय गुहः क्षिप्रमु-
पाहरत् ॥ लक्ष्मणेनात्मनैवैन रामश्चजटाकरोत् । ततो वैखानसं मार्गमाश्रित
महदात्मना । सब्रह्मचारिणस्तस्य सखायं गुहमब्रवीत् ॥' 66, 69, and 71.
Verse 22. पुत्रसंक्रान्त लक्ष्म तैः who have transferred kingly
dignity to their son. For the affix क, see notes above p 6.
इक्ष्वाकु तैः इक्ष्वाकुवंशजैः scions of the इक्ष्वाकु race, when old. यद् (व्रतम्)
पुत्रः लक्ष्मके गृहीतराज्याभिः पुरस्कृत्य तद्पुण्यम् आरण्यकव्रतमभूद् अर्वाचीन (रामा) वान्धे
धूतम् आरण्यकानां व्रतम् the vow or course of conduct of foresters
(i. e. who are in the वानप्रस्थाश्रम). आरण्यक—'अरण्यान्मनुष्ये' पा०
४ २ १२० (इति वुञ्). लघुव्यासस्मृति says about वानप्रस्थाश्रम 'सुतविन्दौ
स्तनोर्विपक्षां वधूंश्चैवोद् वनेत् । वानप्रस्थो ब्रह्मचारी साग्निः शोताशनो भवेत्' ॥
III 45 compare रघु० III 70 'अय स विषयव्यावृत्तात्मा यथाविधि सूनवे
नृपतिककुदं दत्त्वा यूने सितातपत्रमरौत् । मुनिवनचरुच्छाया देव्या तया सह शिश्रिये
गलितवयसामिक्ष्वाकूणामिदं हि कुलव्रतम् ॥' Mark the contrast be-
tween the old kings who had sons and had enjoyed the pleas-
ures of sovereignty and the young राम who had no son and who
had scarcely tasted pleasures. This verse occurs in the महावीर०
IV 51, where we read 'त्वया वशीकृत्येन प्राप्तमारण्यकव्रतम्' प्रसन्न
(clear, transparent) दुग्ध सरित् (कफ) दुग्धा. रघु देवते the tutel-
ary deity of the रघु family. Verse 23. व्यथमान्, कमिद् and