उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

86 NOTES ON [ III 10–
consciousness) This idea is good but we have to stretch the
words a little to bring out the sense required V reads ‘नियतो
भव’ which is interpreted to mean ‘on it alone is fixed (i e
depends) the being (here revival of Rāma)’ Some read तदैव
निरतो भव (Rāma's life is extremely fond of that alone) An
other reading is यत्रैव नियतो भव ‘be fixed (i e dependent) upon
that alone i e depend upon the touch of your hand as the only
remedy to restore राम to consciousness This is a fairly good
reading यत्रैव or तत्रैव निरतो भव has to be interpreted in the
same way as the reading in the text अश्रेण सह साश्रा तया shed
ding tears साह्लाद (आह्लादेन सह) उच्छ्वास यस्य who breathes again
joyously जाने त्रैलोक्यस्य I feel as if the life of the three worlds
has come back again To सीता, राम was all in all the whole
world To her all the worlds without राम in them were a void
So on seeing राम restored to consciousness she thought as if the
world was emerging into life. Some explain that सीता identified
राम and त्रैलोक्य because the latter depended upon him. वीर० says
‘प्रजानामपि शोरानां राममयजीवितत्वाद् रामजीवने तज्जीवनमिति भाव । तदुक्तम्—
रामो रामो राम इति प्रजानामभवन्कथा । रामभूतं जगदभूद्रामे राज्यं प्रशासति ॥’
इति She gives expression to a similar idea on p 74 of the text in
the words ‘सकलजीवलोकबहुलप्रह्लादस्य’ Verse 11 The touch of सीताs
hand was so cool and so much delighted राम that he not knowing
the cause of his feelings puts forward various hypotheses as
to what it was that made him so joyful आद्यो सेक Is it the
extract of the leaves of हरिचन्दन or is it the sprinkling of the
water issuing out of the sprout like lunar rays when squeezed ?
हरिचन्दन is either one of the five trees of paradise or a very
fragrant kind of sandal called गोशीर्ष ‘पञ्चैते देवतरवो मन्दार पारि
जातक । सन्तान कल्पवृक्षश्च पुंसि वा हरिचन्दनम् ॥’ इत्यमर, ‘तैलपर्णिकगोशीर्षे
हरिचन्दनमस्त्रियाम्’ इत्यमर निष्पीडिता इन्दुकरा (चन्द्रकिरणा ) एव कन्दला
स्तेभ्य जायते इति कन्दल इन्दु a tender shoot or sprout तु shows
doubt ‘तु पृथग्भावा वितर्के च इत्यमर आत्त सिक्त or is it the juice
of the plant that brings back life poured on my heart, which
(juice) again gladdens my worried life ? अश्रुत च तद् जीवितं च तस्य
पुन परितर्पण (पुन परितर्पयतीति) पुन परितर्पण—the aff'x अन is here
सज्ञायाम् vide notes p 27 on नीहारसृष्टिरपरा Some editions read
०जीविततरो परितर्पणोऽयं—which means which gladdens (invigorates)
the tree in the form of the heated life (worried life of राम)’
This is not a happy reading
P 58 Verse 12 राम स एव surely it is the same touch

-III. 12 ] UTTARARĀMACHARITA 87
that was formerly familiar to me सञ्जीव...तोषाय that restores to
life and gladdens the mind If we read परिमोहनश्च (that brings on
a stupor), there is an apparent विरोध This is however not a
good reading as the same idea is elaborated in the following half
of the verse In सञ्जीवन and परितोषण the affix अन् is कर्तृवाचक while
in आनन्दन below it is भाववाचक च तनोति which, having at once
removed (my) unconsciousness that was due to excessive grief,
brings on dulness (stupor) again by its gladdening effect राम
had at first fainted through excessive sorrow When सीता
touched him he was restored to consciousness, but her agree-
able touch after so many years so transported him that he
was on the verge of experiencing (another kind of) stupor
(due to extreme joy) आनन्दन = आनन्द एताव तरम् at this
time, even this is a great deal to me. She means that being
abandoned by राम, she had no chance of seeing him or being
of use to him. Therefore the fact that she was able to restore
राम to consciousness is a great privilege enjoyed by her and
she thinks that she must be satisfied with it. न खलु प्रसोदसि
Indeed am I not favoured by the affectionate queen Sita?
He puts a question to himself as to whether it is not possible
that सीता may have come and touched him. मार्गिष्यते will
search अथ कोपिष्यति the king will get angry with me on
account of my approaching him without his permission. Notice
the word राजा सीता suggests that the king in राम may get the
better of the husband and so on seeing her he may sternly rebuke
her instead of welcoming her, on account of his high ideals of
kingly duties हुन्-'हुन् वितर्के परिमले' इत्यमर असदृश वृत्तान्तस्य
this is not in keeping with all this that has taken place She
means — If she was so very dear to राम, as his words (प्रिये जानकि)
even after the lapse of twelve years indicate he should not have
abandoned her वज्रमयी made of adamant; i. e as hard (of heart)
as adamant जन्मा...दर्शनस्य whose sight is difficult to obtain and
is impossible even in other lives. असंभावित दुर्लभ दर्शन यस्य She
means —The sight of such a noble person as राम is in itself very
rare It would be impossible for her to see राम again in future
lives because both of them may go to different births in accord-
ance with their respective कर्मन्. Some read दर्शनाम्, which goes
with माम् This is bad सीता was not then in a mood to think
too highly of herself The reading जन्मान्तरे संभावित० yields no
sense G seems to have read पुन संभावितसुलभलब्धदर्शनस्य which
means 'whose sight is as much easily possible in other lives as

88 NOTES ON [ III, 12-
that of the tongue of a balance' मा एव वत्सलस्य who entertains
affection for me only who am unfortunate. एवम्वादिन् —She refers
to राम's words 'प्रिये जानकि' निरनुक्रोश cruel, without pity 'कृपा
दयाऽनुकम्पा स्यादनुक्रोशोऽपि' इत्यमर मद एव She means—however
outwardly cruel राम's treatment of her may seem to be, she knows
'that his love for her is deep and that he has really not the
least doubt about her Note her words 'तस्मै कोपिष्यामि यदि न
प्रेक्षुमाणात्मन प्रभविव्यामि' (after I 51) and VI 32 below सनिर्वेदम्
with dejection कीदृशी वत्स्या what is the condition of my heart?
She asks तमसा whether she can understand the condition of
her heart which is tossed by contending emotions. Some
editions read 'कीदृश इव मे हृदयस्यानुरूप इति न जानामि'— I do not know
what the state of my heart is तमसा replies that she knows
the state of her heart Verse 13 तटस्थं, कलुषं &c. qualify हृदय.
हृत्स्य स्तम्भितमिव Indifferent (cold) on account of despair, angry
in consequence of the offence (राम committed, viz. of abandon
ing her), it is as if paralysed on account of the sudden meet
ing after this long separation कलुष turbid, therefore 'angry'
सीता despaired of being restored to her former position and so
her heart was cold towards राम राम had done her injustice by
banishing her without any cause under a pretext and therefore
she was full of resentment On account of her suddenly meeting-
राम, her heart was paralysed and did not know what to do. Some
read घट्नोत्तम्भितमिव which may mean 'supported by the sudden
meeting' प्रसन्न इव pleased on account of his goodness, deeply
touched by the lamentations of your beloved (राम), your heart
has at this moment as if melted with affection. दयितस्य (रामस्य) करुणै
(स्वरपातादै ) गाढं करण (शोक ) यस्मिन् Construe इव with द्रवीभूतम्
Verse 14 स्नेहेन आईश्वामी शीतलश्च cool and influenced (lit
melting) by love नन्दिनी—is here used in its etymological
sense 'a woman that causes delight Its usual meaning
'daughter' is inappropriate here All the editions read नन्दिनि;
but following G we read नन्दिनी, which is better Sita, being
already addressed as देवि, there is no necessity of using another
vocative. एते हाला Indeed these words of my lord are full of
nectar (i e. cause delight) which shower delight and which
exhibit the deep affection of his heart (for me). The com
pound अगाध सम्भारा cannot be easily dissolved We rather
expect दर्शितगावाधमानतस्नेह•. अगाध' मानसे दर्शित स्नेहसम्भार येषु सम्भार
heap, fulness. आनन्द निस्यन्दरे इति G reads ०'सुम्भरा' for ०सम्भारा.

-III. 14 ] UTTARARĀMACHARITA 89
The meaning will be 'these words that spring from the deep
affection &' येषां प्रत्ययेन on account of the conviction (faith)
produced by which निष्कारणेन परित्यागेन शल्यं, तदस्य सञ्जातमिति शल्यितः
निजा नाम my life is highly esteemed by me though there
is the dart of causeless abandonment सीता means-The fact
that I was abandoned by my husband without any fault causes
heart-rending grief to me Though this is so and though my
life has thus been embittered, yet I look upon myself as blessed,
since these words of my husband lead me to believe that his
love for me is as intense as ever G reads 'श्वसितं' which
is not happy The meaning seems to be 'my life is thought of
more highly than the dart i.e शल्यित is formed from शल्य with
the affix इत according to 'तदस्य सञ्जातं तारकादिभ्य इतच्' पा 5 2 36
P. 61. सङ्कल्पस्य अभ्यासः ( repetition )तस्मिन् पाटवं (कौशलं) उपादानं
(कारणं) यस्य which is caused by my cleverness is repeating
(the same) vision. सङ्कल्पः Imagination. राम means that by
constantly brooding over the image of Sītā in his heart he is
led into thinking that she is bodily present G seems to have
read 'सङ्कल्पाभ्यासपाटवोपादान' ( सङ्कल्पेन यः अभ्यासः presenting in ima-
gination ) V reads ०पाटोत्पाद which is to be dissolved as पाट्पाद्
उत्पादः (उत्पत्तिः ) यस्य पटोर्भावः पाटवम् Compare 'युष्मदाशीरुपादान
-एष महिमा'( text p 42) 'महत्पुण्यपरिपकोपादान एष महिमा' महावीर०
IV. रघुनन्दस्य-This is ironically used. It conveys that Rāma is
wretched (instead of being blessed as the word भद्र would natur-
ally suggest ) कः ..योक्ष्यते 'who will now attack (the elephant) '
or 'who will now be appointed' In the first case अभियोक्ष्यते is
active, in the second passive पुत्रकम्-the affix क is applied to
show compassion. 'अनुकम्पायाम्' पा. 5. 3 76. ( पुत्रकः। अनुकम्पितः पुत्र
इत्यर्थः। सि कौ ). अभिपतति-attacks, overpowers. रघुनन्दन-This
seems to be sarcastic वासन्ती implies that राम does not deserve to
be called रघुनन्दन, as his ancestors in heaven must have been
greatly displeased with him for abandoning सीता. The word is
either जटायु or जटायुस् ०शिखरस्य दक्षिणेन to the south of the peak
called जटायु. For the genitive with दक्षिणेन see notes p 80 on मुन्य
लागावरेण. सीतातीर्थेन by the flight of steps called सीता. तीर्थम्-
(Marathi घाट) flight of steps leading to a river. 'तीर्थे शास्त्राध्वर-
क्षेत्रोपायनारिज्मु च। अवतारर्षिजुष्टाम्भःपात्रोपायनषिषु' इति मेदिनी. बदर
'अवहेलयतुने मेद्रे' इत्यमरः Note that वासन्ती purposely uses
the word सीतातीर्थ and refers to जटायु who sacrificed his life
for सीता. हृदय .. द्यन्तः these allusions to the story (of my

50 NOTES ON [III 14-
life) verily pierce the vitals of my heart. G seems to have
read हृदयमनाविध्य which means the same thing as -विध्य
हृदयमनु + विध्यति इति ०मनुविद्य (affix किप्) मनु is lengthened before
विध्य according to 'नहिवृषिवृचिराजिव्यधिरुचिसहितनिषु कौ' पा ६ ३ ११६.
(विध्यत्युषु पूर्वस्य पूर्वपदस्य दीर्घः । प्रतानम् । प्रामूचः । समाविद्येत् । सि कौ) Com-
pare महावीर० V 'हृदयमनु विध मर्मणी कपेदात् शमाय वल्गन मन्मथः.
P 62 We expect मातृचरण after शैशवाभ्य रस्तो संवृत्तः he
has become so (big) दिष्ट्या वृध्-means 'to congratulate a per-
son upon राम has the image of सीता before his mental view and
addresses her- Verse 15 येन goes with सोऽय पुत्रः यत्पुण्ड-
रीकदलाग्रवद् किञ्चिद्दन्तुर दन्त or पल्लवाङ्कुरच्छिवद्दन्तर दन्त-whose
tender (sproutlike) tusk was just appearing and was glossy
like the tender leaf of a lotus. सुतनु is addressed to सीता (who
in the opinion of राम was dead) कर्णपूरम्-this is a better
reading than कर्णपूरात् Part of the कर्णपूर reached down
below her ear and was snatched by the elephant. कर्णपूर is an
ear-ornament. मदच्छिन्नः the conqueror of elephants giving out
rut. बाल्यात् नातः has become the receptacle of what is aus-
picious in youth i. e he is possessed of strength, valour and
charm अवियुक्तः not separated Mark that the blessing Sita
pronounces comes quite appropriately from her She has had
the bitter experience of what separation means and the thought
of separation being uppermost in her mind, she wishes that her
pet should never have to undergo similar torments. कान्तायाः
अनुवृत्तिः तस्मिन् चातुर्यम् the skill of pleasing his beloved (i. e gal-
lantry) शिक्षितम् learnt.
P 63. Verse 16 यद् in the fourth line means 'since' and
is to be connected with all the clauses. This verse mentions
the acts whereby the elephant showed that he was a gallant.
रातो कान्तम् (since) he has effected the giving of water scented
with the expanding lotus in the intervals of the morsels of
lotus-stalks plucked out with ease. लीलया उद्घातानि मृणालखण्डानि
तेषां कवलम् तेषां छेद्रेषु (सन्धिषु). The elephant plucked out lotus
stalks and gave them to his mate for eating When she
finished one morsel he poured from his trunk water in her
mouth before she took up another morsel पुष्करं पुष्कर (पद्म) तेन
वासितस्य or पुष्करं पुष्करं करिहस्ताग्रं तस्मिन् वासितम् scented in the fat
tip of the elephant's trunk. गण्डूषः a mouthful On this राघव-
remarks 'स्वयं पीत्वा जलदानं प्रतिपादम्' संक्रान्तिः transference, giving

-III. 16 ] UTTARARÂMACHARITA. 91
संपादिता for सपादिता would mean 'were thrown.' सेकं कामम्
he caused a bath (of water) to her heart's content with his
trunk that dropped a spray कामम् is used as an adverb here
जगद्धर in the मालतीमाधव takes it in the sense of 'युक्तम्' (proper)
विरामे धृतम् since when it (bath) was stopped, he held (over
her) through affection as an umbrella the leaf of a lotus plant
with a straight stem अनराल (अवक्र) नालं यस्य तत् नलिनीपत्रमेव
आतपत्रम् (छत्रम्) विराम cessation. The elephant held the leaf
over the mate in order to ward off the heat This verse occurs
in the मालतीमाधव IX. 34 where instead of यत् we have न.
In one way this is a better reading The young elephant
had not become an adept so he forgot to hold the lotus leaf as
an umbrella. निसह unbearable भवितव्यता fate किं सुतया what is
the use of my giving birth to children ? येन since तादृशमपि
even of that sort (i. e. so charming &c.) ईषद्विरलकोमला परराश
दशना वै उज्ज्वलो कपोलो यस्य the cheeks of which are brightened by
the white, delicate and slightly sparso teeth. अनुबद्धे मुग्धे काकली
विलसिते यस्मिन् on which there is constantly a charming smile and
lisping, काकली-sweet but indistinct sound, अनुबद्ध constantly
attached निबद्ध काकपक्षखण्डक (काकपच) यस्मिन् which has a well
trimmed lock of hair The word कण्ड seems superfluous.
शिखण्डक itself is called काकपक्ष 'काकपक्ष शिखण्डक' ('इलियागा जून
'काकपक्ष इति गौट' क्षीरस्वामी) अमले मुख एव पुण्डरीकयुगलम् She had
two sons, therefore the word पुण्डरीकयुगलम्
P 64 अस्तु-understand चुम्बितम् from the preceding speech
after it उच्छू -राणी whose breast is heaving and has begun to
ooze milk (on account of remembering my children ) तृणमात्र
-स्पृष्टा-सीता, being abandoned by her husband, could not
aspire to be a संसारिणा (a woman with a family) किमवोच्यते
what need be said on this point this needs no mention. प्रकृष्ट
-भेदस्य A child is the highest limit of affection. प्रकृष्ट excess.
पर्यन्त limit, border This means that there cannot be affection
greater than that which one feels for ones child. पर... पित्रो
this is the highest tie for binding together the parents
Verse 17 This is one of the master pieces of भवभूति Con
strue संहृत्तभवाद् दम्पत्यो अन्त करणतत्वस्य अपत्यमिति एक आनन्दग्रन्थि क यते
-on account of being the resting place of the affection ( of the
parents ), a child is the one (unparalleled) knot of joy tying
the principles of the hearts of the husband and the wife The
affection of both husband and wife is centred in the child.

92 NOTES ON [ III 17-
It is the knot wherein are imperceptibly tied together
the two hearts of husband and wife just as two threads
are tied together in one knot. The child is the source of
joy to the parents and hence called आनन्दग्रन्थि. G separates
as ग्रन्थि and रेक, instead of ग्रन्थिरेक. The explanation of
G is bad and brings the high and pure sentiment breathed in
this verse to a low sensual level. Verse 18. ते प्रिया—This
refers to सीता. अनुदिवसम् (दिवसे दिवसे इति अव्ययीभाव) day by
day. यम् is the object of अवर्धयत्, the antecedent being स-
एष शिखण्डी in the 4th line. अचिर-निर्गत-मुग्ध (मनोहर)-शिख (धवल)
बर्ह यस्य—whose tail that had recently come out was charming
and waving. बर्हम् the peacock's tail 'पिच्छबर्हे नपुंसके' इत्यमरः
उत्क्षिप्त (उन्नता शिखा यस्य) whose crest is upraised. मणिमुकुट इव
like a crown of jewels. कदम्बे on the कदम्ब tree. नदति screams,
gives out notes. वध्वा सखा वधूसखः—तत्पुरुष. सखि becomes सख
at the end of a तत्पुरुष according to 'राजाहःसखिभ्यष्टच्' पा०
५. ४. ९१ (एतदन्तात्तत्पुरुषाट्टच् स्यात् । कृष्णसखः । सि. कौ.) वधूसखः
in the company of his mate (lit. the companion of his
wife). The peacock's tail presents various sparkling
colours; besides, the peacock's body is large but its
neck is long and thin. Hence the peacock with its brilliant
tail is represented as the crown inlaid with jewels placed on
the कदम्ब tree. A crown is wide at the bottom and goes on
tapering upwards. V and Gh read the first half differently.
But the reading in the text is preferable. वासन्ती wants to
point out the objects with which सीता was specially connected.
With the reading in the text we know at once that the peacock
was fed by सीता. The reading of V and Gh brings before us
the peacock abruptly and the words of सीता (कथं एष स) that
follow the verse cannot be properly connected with it. अनरण-
स्मेरबर्ह this (peacock) whose tail freshly come out is charm-
ing and waving at the end of the festivity of dance due to
its excessive joy. न विघटते तरङ्गः यस्मात् सः अनरणः मन् तेन सान्द्रः तस्य
उत्सवः तस्य अन्ते तैषु. एष स this is the same (peacock that I fed).
P. 65. मोदस्व rejoice. राम calls upon the peacock to go on
joyfully as the latter is in the company of its mate, while राम
himself is deprived of सीता. एव भवतु—सीता also approves that her
pet should be happy though she herself is in grief. Verse 19.
Supply त्वाम् before मण्डयन्त्या. मण्डयन्त्या and मुग्धया qualify 'सीतया'
(understood). भ्रूभिक्षु मण्डयन्त्या (by her) who adorned you
with the dance of her moving and beautiful eyebrows.

—III. 19 ] UTTARARĀMACHARITA. 93
and her eyes (the orbs of) which were made to whirl
round inside the eyelids (sockets) during your (own)
whirling movements (in dancing). वृत्ता पुटस्य अन्त मण्डलावृत्ति
(मण्डलाकारा आवृत्ति ) याभ्यान् ते ॰वृत्ती, ॰वृत्ती च ते चक्षुषी च, प्रचलिते चटुले
च भ्रुवौ तयो स्ताण्डवानि, ॰वृत्तिचक्षुषी च ॰ताण्डवानि च तै ॰ताण्डवै The idea
is—The peacock in dancing whirled about round and round.
The eyes of सीता followed intently the movements of the pea-
cock. The pupils of her eyes moved round in trying to follow
the whirling movements of the bird, similarly by the admiration
for the movements of her pet her eyebrows also were made to
move. In this case, we take वृत्त ताण्डव as one word. Both
G and वीर० do the same. We must admit that the sense yield-
ed is not very happy and that the construction is rather clumsy.
V. and Gh. take ॰चक्षु as an object of मण्डयन्त्या. In this case the
construction becomes easier and the reading yields a good sense.
Taking the reading of V. the meaning is 'who adorned (her)
eyes that revolved in a circle inside the sockets during your
whirling movements by the dancing of her moving and beautiful
eyebrows'. Here वृत्त वृत्ति is a separate word and an adjective
of चक्षु, which is the object of मण्डयन्त्या. With the reading in the
text, we have to say that सीता adorned the peacock, here we say
that her eye (naturally charming enough) had its beauty
heightened by the graceful movements of her eyebrows. Gh.
reads वृत्तनेत्रु (as one word) which means the same thing as
॰वृत्ति चक्षु. वृत्त पुटस्यान्त मण्डलास्तन् (मण्डलावृत्ति ) येन. Here also
॰चक्षु is the object of मण्डयन्त्या. The principal reason why the
reading in the text was retained is that the readings of V.
and Gh. seem to be emendations purposely made to escape the
difficulties of the original text. चटुल fine, agreeable. कर नर्त्यमान
(त्वा) (you) who were made to dance by the graceful (सीता)
with the clappings of her sprout-like hands. करौ किसलये इव तयो
ताला तैः ताल keeping time (here by the clapping of the hands).
'तालः शब्दक्रियामानम्' इत्यमरः, 'तालः करतले ऽङ्गुष्ठमध्यमाभ्यां च सम्मिते ।
गीतकालक्रियामाने करस्फोटे द्रुमान्तरे' इति विश्वः. नत्यमान Present P.
Pass. of the causal of नृत्. हन्त रप्यन्ते Oh ! even lower animals
have regard for (former) familiarity. रप् with अनु—to act
according to, follow, have regard for. राम suggests that even
lower animals, who are not supposed to be endowed with reason,
stick to objects with which they had once become familiar,
while he, a human being endowed with the godly attribute of

94 NOTES ON [ III 19-
reason abandoned सीता, not regarding his love for her
Verse 20 कतिपदानां कुसुमानां उद्गम (उद्गय उत्पत्तिर्वां) यस्मिन् which
has put forth only a few flowers प्रियतमया=सीतया स्मरति मेति
this mountain peacock (surely) remembers the queen (सीता).
since it feels delight on it as if in (the presence of) its own
friend गिरिमिय मयूर गिरिमयूर a मध्यमपदलोपिसमास like शाकपार्थिव
(वार्तिक on पा० 2 1. 60) स्मरति देव्या -Verbs having the
sense of 'to remember', 'to pity' and 'to rule' govern the geni-
tive of the object 'अधीगर्थदयेशां कर्मणि' पा 2 3 52 अत्र = अस्मिन्
कदम्बे. The fourth line contains the reason of the assertion
made in the 3rd line. As both the Kadamba and the peacock
were tended by Sîtâ, the peacock was familiar with the tree
It never left the tree and danced upon it with joy Hence राम
infers that the peacock still remembered those distant days
when it and the tree had both been the favourites of सीता
आसनपरिग्रह accepting a seat. Verse 21 The principal sentence
is ते शयनीयशिलातलं हरिणकैर्न विमुच्यन्ते स नीरन्ध्रा (निर्गतं रन्ध्रं याभ्य, निः

• रन्ध्र) बालकदल्प तासां दलं तस्य मध्ये वर्तते इति कान्ताया सख्या-कान्तासखः
  तस्य Compare वधूसख above नीरन्ध्रा . ते this slab of stone used
  as a bed by you in the company of your beloved, lying in the
  midst of a grove of thickly growing young plantain plants.
  अत्र=शिलातले दभ्य =हरिणेभ्य अत्र सीता since सीता sitting on this
  (stone) often gave grass to them ततो स therefore (the slab
  of stone) was not left off by the deer क is added to हरिण to
  show compassion. Vide notes on पुत्रक p 89 स्म, when placed
  after a verb in the present, imparts to it the sense of the past.
  'लट् स्मे' पा 3 2 118 Most editions read एतत्तदेव कदलीवनमध्यवर्ति.
  This is a good reading and makes the construction of the verse
  easy With this reading the first two lines form an independ
  ent sentence and the last two lines form another co-ordinate
  sentence We have to supply तत् before विमुच्यते with that read
  ing With the reading in the text, the construction is rather
  involved. We believe, however, that the reading in the text is
  what the author wrote and hence have kept it For बहुशो
  यदेभ्य, N and G read वनगोचरेभ्य The meaning of this latter is
  not clear It seems to mean 'beasts of the forest' (वन गोचरः
  विषयो येषाम्) ते देशा these are those very spots (उद्देश) of the
  forests on the गोदावरी which witnessed our various ‹ ›
  ते पादपा these are those very beasts, birds and trees that were
  as dear (to me) as children. जातेभ्यः निर्विशेषा. (निर्गतं विशेषं येषाम्

—III. 21] UTTARARÂMACHARITA. 95
(or देव्यः)—between whom and one's children there is no
difference मम...संवृत्तं so unfortunate am I that, notwith-
standing that I see all this, it is as it were non-existent (for me),
such is the transformation that this mortal world has under
gone (in my case) She means that being abandoned by her
husband on account of a scandal, she cannot face her husband
as well as the world and that therefore the world is as if non
existent for her Formerly all these persons showered their
affections upon her and the various objects gave her pleasure
But now they cause her sorrow This is the vast change that
has occurred in her relation with those objects and persons
The reading परिवर्तो also means 'change' Verse 22. ददद् (quali-
fies यः) is the present p. nom sing mas. of दा, its object being
नयनोत्सवम् Construe यः नयनोत्सवं ददद् नवो नव इवा (आसीत्) स इति कथम्
सुखैकल्य तथापि दृशो प्रियः नव स्तव (who) causing delight to
(our) eyes by his limbs that were glossy (charming) like a
fresh blue lotus. सतत यः who, thought he could always be
seen by us at will, was ever new (on each occasion). She
uses the word नः purposely Not only was राम a feast to the
eyes of सीता, but to all who beheld him She further says that
Rama was so handsome that though we (including of course
सीता) could see him as often as we pleased, yet on each occasion
he appeared as handsome as ever Compare 'क्षणे क्षणे यन्नवतामुपैति
तदेव रूपं रमणीयतायाः' विश्रान्ति करणानि (इन्द्रियाणि) यस्य. पाण्डु क्षामं
(सन्नि) यस्य who.e complexion is pale शुचा (to be construed
with all the three adjectives in the third line) by grief. कथमपि
'...विद्' he is with difficulty to be recognised (lit to be inferred)
as the same, still he is agreeable to the eye Although his
complexion is pale and he has grown weak, he is as handsome
as ever and so still causes delight to the eye In the first line
V and Gh read ददौ for ददद्, which yields a good sense. It
seems to be an emendation purposely made, as with ददद् the
construction is rather involved. ये for नः is not good. There
is no special propriety in saying that Rama could be seen at
will by सीता (his wife). The reading नव नयनैः is not good It
will have to be construed with नयनोत्सव in the first line, which
will lead to दूरात्वय Besides the words नवो नव एव यः present a
striking contrast to सततमनिशेनैवापश्यन पश्यन्ती...भूयाः may you be
always seeing your dear (husband) ! भूया is Benedictive.

96 NOTES [ III. 22—
P 67 स्वप्नदा आसीत् did any body think it possib'
in a dream that I would be without him and he without me?
जन्मा दर्शन whose sight I have obtained as if in another life
She means—for twelve years after I was abandoned, I had no
opportunity to look at my husband It is for the first time
after twelve years that I see him Who knows whether I may
be able to see him again? It is therefore that she uses the word
जन्मान्तरादिव लब्ध दर्शन यस्य The reading अनुबन्धदर्शना (अनुबन्धं
दर्शनं यया) is not bad and means 'who obtained a sight of him'
&c बाष्पसलिलान्तरेषु in the intervals of the (falling of) tears
Verse 23 The principal sentence is से दृष्टिं हृदयेशं स्नपयति विगुलितम्
qualifies बाष्पन्, which is the object of अवसृजन्ती आनन्दश्च शोकश्च
ताभ्यां प्रभव यस्य प्रसृता च उत्ताना च दीर्घा च She had stretched
her eyes to see intently her husband विभु दीर्घा (eye) that
is stretched out, upturned and has beautiful (or long) eye-
lashes and that drops down tears due to joy and sorrow, that
(tears) flow down in floods विगुलित adj tremulous, shaking
The joy was due to seeing राम after the lapse of 12 years The
sorrow is due to her being abandoned without cause by a loving
husband. स्नेहनिष्यन्दिनी स्नेहनिष्यन्द अस्ति अस्या इति—possessing a
flow of affection स्नपयति हृदयेशम् as if bathes the lord of your
heart (i. e राम) Her tears fall on her bosom, in her heart is
enshrined राम and therefore the poet represents as if she were
bathing राम in her tears धवल मुग्धा white, sweet and charming
दुग्धकुल्येव like a stream of milk (on account of whiteness) She
being separated from her husband, had used no अञ्जन (black
collyrium) and therefore her sight was white and resembled
दुग्धकुल्या Note 'स्त्रीणां शरीरसंस्कारः समाप्नोऽवश्यदर्शनम्। क्षारं परगृहे वासं
त्यजेत्प्रोषितभर्तृका॥' याज्ञवल्क्य I 81 V and Gh read तृष्णोलोचनदीर्घा
that was stretched out wide through the eager desire (to see
राम) This is a good reading but seems to be conjectural.
Verse 24 अयम्—see notes (p 51) मधुश्चुत (adj of तरव )—that
drop down honey मधु श्च्योतन्ति इति G seems to have read मधुश्चुतो
(adj of पुष्पै and फलै) This is not good, as we rather expect
'मधुमतैः' स्फुटित निश let the sylvan breezes blow full of
the perfume of expanded lotuses कन्त शकुन्तय let the birds
whose notes are melodious sing sweetly and continuously
रज्यत (राञ्जुक्ता ) कण्ठाः येषाम् The reading रक्तुकण्ठा would mean
'who have raised up their necks (to see राम) through their affec-
tion for him (रत्या रामविषयकप्रेम्णा उत्कण्ठा उन्नतकण्ठा ).

—III 24] UTTARARĀMACHARITA 97
P 68 अश्रुतिं नीय representing that he did not hear (what
she asked) राम did not like that she should have an oppor-
tunity to ask something about सीता Verse 25 कः कोऽपि my
heart is affected in an indescribable manner when I see those
trees, birds and deer whom सीता tended with water, wild rice
and grass (respectively), given from her own lotus like hand द्रव
योग्य which (विकार) is capable of breaking (even) a stone
and is as if the liquid essence of my heart प्रस्तरस्य उद्भेदः यस्मिन्
योग्य राम seems to suggest that though his heart is as hard as
a stone, his emotion is so powerful that even that hard heart
has melted The reading प्रस्योद्भेद० of N does not yield any
satisfactory sense The figure in the first half of the verse is
द्वयसमुच्चय which is defined as 'यथासंख्यं क्रमेणैव क्रमिकाणां समन्वय' काव्य-
प्रकाश L. Gh. explains 'प्रस्तरस्य पाषाणस्य उद्भेदः द्रवः तद्योग्यं तत्तुल्यः'
But this is not good. There is no propriety in saying that the
emotion is like the melting of a stone especially when we take
the words in conjunction with द्रव इव हृदयम् Besides योग्य in
the sense of तुल्य is rarely used, if at all 'योग्यं प्रतीयोगाद्होर्शनि
शाक्तेषु वाच्यवत्।' इति मेदिनी ननु पृच्छामि I do ask ननु is used here
in the sense of 'emphasis, or in the sense of 'calling in a con-
ciliatory manner' 'प्रश्नावधारणानुज्ञानुपामन्त्रेषु ननु' निष्प्रणय void of
affection नितरां प्रणयः यस्मिन् आमन्त्रणपद word (mode) of address.
वासन्ती was the dear friend of सीता and so of राम, who a few lines
above, addresses her as 'सखि वासन्ति' He therefore expected
that she too would not stand on ceremony and would address
him in a homely way as रामभद्र Instead of such homely words,
she uses the formal word महाराज, conveying perhaps a hint that
he paid more regard to his duties as a king than to his duties
as a husband सौमित्रिः (सुमित्राया अपत्यं सौमित्रिः लक्ष्मणः) एव सौमित्रि
मात्रम् तस्मिन् बाष्पेण रुद्धकण्ठि अश्रूणि यस्मिन् सौमित्रि प्रश्न there is
an inquiry as to the health of लक्ष्मण alone in a voice which is
choked up on account of tears. It was naturally to be expect-
ed that the first question which वासन्ती would ask would be
about her friend सीता विदितः सीताया वृत्तान्तः यया सा विदि तास्त्वा
। अम्-yes 'आमोऽनु' इत्यमरः (अङ्गीकारार्थे। क्षीरस्वामी) परं दारुण extremely
relentless. किं पश्यसि, what art thou that cagest on (to राम)?
सीता means that वासन्ती is herself cruel in taunting Rāma in this
manner Or the words may simply mean 'why do speak thus'?
प्रियार्ह पुत्र my lord deserves good (treatment) from all.
प्रियं अर्हतीति प्रियार्ह. Verse 26 This is a fine specimen of the
9

98 NOTES ON [ III 26—
force and pathos of Bhavabhuti's words It will be noticed that,
though भवभूति can use long and involved compounds, this verse,
being full of intense feeling, is almost free from them. The
ध्वन्यालोक requires this. 'करुणविप्रलम्भशृङ्गारयोस्तु असमासैव सङ्घटना ।
कथमिति चेत्, उच्यते। रसो यदा प्राप्ता येन प्रतिपादकता तन्मयी व्यवधायका
विरोधिनश्च सर्वथात्मनैव परिहार्याः । एवं च दीर्य्यमाणा सङ्घटना समासानामनेकव्यवहारस-
म्भावनया कदाचिद्रसप्रतीतिं व्यवदधातीति तस्या नात्यन्तमभिनिवेशः शोभते । विशेषे-
तोऽभिनेयार्थे काव्ये ततोऽन्यत्र च विशेषतः करुणविप्रलम्भशृङ्गारयोः । तयोर्हि सुकुमार-
तरत्वात्स्वल्पाप्यमन्दसङ्घटना शब्दाथयो प्रतीतिर्वगंर्भवति ।' pp 139-140 दृश्य
मन्द्रे you are moonlight to my eyes ( i e as delightful ), you
are nectar ( applied ) to the body ( i - your touch is cool and
gratifying like अमृत ) इत्यादि मुग्धा having pleased ( flattered )
the simple ( सीता ) with hundreds of sweet words like these
She suggests that सीता must be foolish to have looked upon all
these smooth words as true and to have relied upon you impli-
citly त्वमेव —she meant to add वचनान् व्यवस्थानिति But the idea
of abandonment is too much for her and she breaks off in the
middle of her words शान्तमथवा or hush ! what is the use of say-
ing more? This verse is quoted in the दशरूपक (III 17) under
आक्षेपे The latter half of the verse is a fine example of the
figure of speech called आक्षेप, which occurs when there is an appa-
rent denial (or suppression) of something which was intended
to be said for the purpose of conveying some special meaning
स्थाने मोहश्च It is proper that she stops in the middle of her
speech (lit sentence) and faints 'युक्ते द्वे साम्प्रतं स्थाने' इत्यमरः
तमसा means that it is quite natural, considering the great friend-
ship of वासन्ती for सीता, that she should break off in the midst of
er speech on account of excessive sorrow and should faint
Moreover it seems to us that the poet wants to defend his own
treatment of pathos He means that it is quite in keeping
with poetic ideals that he should make his characters break off
in the middle of their speech and that he should represent
them as fainting
P 69 दिष्ट्या—सीता wishes that her friend should
desist from harrowing her husband with pointed questions,
पौरैरो दीति because the people would not tolerate it ( i e would
not allow him to have सीता ) मृष् 4th conj to bear इति shows
reason The words are to be taken as an answer to the query of
वासन्ती कस्य हेतो for what reason ( would the people not tole-
rate it) ? When the word हेतु is used in the sense of 'cause or

—III 26] UTTARARĀMACHARITA 93
Object it is put in the genitive ‘षष्ठी हेतुप्रयोगे’ पा २ ३ २६ (हेतु-
शब्दप्रयोगे हेतौ योऽर्थः षष्ठी स्यात् । अन्नस्य हेतोर्वसति । सि. कौ. ) य एव किमपि—
the people themselves know what that indescribable reason is.
Rama could not bring himself to repeat the undeserved scandal
and so uses the word किमपि. Moreover the word, convey some
taunt. चिरात्था the taunt comes after a long time (when it
is too late). इत्यनेन means that the taunt contained in Rama's
words मन्ये किमपि comes too late as it cannot set matters
right, सीता having been abandoned twelve years before. The
reading उचितत्था is not bad. The meaning is this taunt
given to the people is deserved. But it is not so good as the
one in the text. Verse 27 Here again it will be noticed that
there are no compounds as the feeling is intense. अयि—is
an interjection used as a tender mode of address अनुनये त्वयि
इत्यादौ. कठोर is addressed to राम. यशः स्विद् I hear that fame
is dear to you. किम् इतरम् what infamy is more horrid than this
(viz. the abandonment of one's innocent and pregnant wife)?
She means —you abandoned सीता I am told because you
thought that otherwise your reputation would suffer. But you
adopted a remedy which instead of adding to your fame would
rather cause infamy. So how can you be said to be one to
whom fame is dear! The second line may also mean would
even an evil name be more horrid than this? विपिने in the
forest. हरिणदृशः (जनतया ) दृग्दृश्या इत्यनेन यथा मादृश्यादृश तयोः
दृक् is used in the sense of अनुकम्पा or खेद. सन्तुष्टपरुषोपहसितानाम्ना
यत् दृश्यम्. कथं मन्यसे how do you think? She means —do you
think that she is still living? या मय्य मन्दयसि who torment
(my lord) that is already afflicted (overwhelmed by sorrow).
अत्र स्नेहः it is affection and sorrow that say so. तात्पर्यार्थस्तु
that the harsh words of वासन्ती (अयि कठोर &c.) are due to her
great affection for सीता and the grief she feels at the sad end
(which she supposes) that सीता must have met. कियन् मन्तव्यम्
what room for thought is there! (i. e. there is no necessity
for speculating about the fate of सीता. I am quite sure she met
a sad death). Verse 28 पृथु and उत्पला qualify तन्वी, the
principal sentence being तन्वी जन्त्वन्तरैः क्रव्याद्भिः विपिनान्ते विशसिता—
her creeper like body was certainly devoured by the beasts of
prey. एकहायन (एकं हायनं संवत्सर यस्य) मुग्धं तस्य इव विलोक-
(चञ्चल) दृष्टिः दृश्या मा दृश्या—of her who e eyes were as unsteady
as those of a frightened fawn one year old. परि पश्यता —

100 NOTES ON [III 28-
परिस्रुरित गर्भ तक्ष भरेण अलसाया who was heavy on account of the
burden of the quivering fœtus ज्योत्स्नामयीव as if made of
moonlight (i. e. so delicate and charming) मृदु कल्पा almost
like delicate and fresh lotus fibres (i. e. as fragile as the
fibres) The affix कल्पप् is added at the end of compounds in
the sense of 'a little less than' 'ईषदसमाप्तौ कल्पब्देश्यदेशीयर' पा.
5 3 67 क्रव्याद्भि—see notes p 49 on क्रव्याद्भ्य अह लतिकेव इव
विदुन्ना past pass p of नुद् (6th P नुदति) with वि
P 70 प्रिये I am alive (present active of पृ 6 A.) अय
ङ्क like an ordinary person (or low person) प्रमुक्त कण्ठ यथा
स्यात् तथा प्रमुक्तकण्ठम् साम्प्रतिकम्—proper कर्त्तव्यानि आपन्नानि—per-
sons in sorrow must extinguish their sorrow (must seek relief
from sorrow) निर्वापणम् extinguishment Verse 29 पूरस्य
उत्तीडे (समूहे) पूरो क्रिया when a tank has a large volume (of
water), an outlet (or a channel) is the remedy (for prevent-
ing the banks from bursting) The word is variously written
as तडाग, तडारु, तटाक परि (or री)—वाह drain or channel to
carry off excess water The उपसर्ग परि becomes optionally long
in accordance with 'उपसर्गस्य घञ्यमनुष्ये बहुलम्' पा 6 3 122 (उपसर्गस्य
बहुलं दीर्घ स्वादन्तने परे न तु मनुष्ये ।) 'जलोच्छासा परीवाहा' इत्यमर (on
which क्षीरस्वामी remarks "जल प्रवृद्धमुच्छिति परिवहति यैर्निर्गममार्गैस्ते
परीवाहा, यल्लक्ष्यम्—उत्पीडितानामम्भासां लाग ण्य हि रघूत्तम् । तटाकोदरसम्पाताँ
परीवाह शशम्भनम् ॥") शोकक्षोभे when excited by sorrow धार्यते
is supported राम लोक The mortal world is troublesome
especially to Rama in various ways बहुभि प्रकारे कष्ट or
बहुप्रकाराणि कष्टानि यस्मिन् Verse 30 पाल्यन् should be
protected अभियुक्तन मनसा with a watchful mind The fore-
most duty of a क्षत्रिय was to protect the subjects 'प्रधानं क्षत्रिये
कर्म प्रजानां परिपालनम्।' कामुन्दक० I 119 प्रियाशोक sorrow for his
dear wife (सीता) प्रिया रुन्द्धति—compare 'रुन्धति शरीर मुरदिम
इइ धर्मे वेनरीगवधम्' on p 53 (text) स्वय हम having aban-
doned her himself, the relief due to weeping cannot be easily
had If राम were to weep, people would ask him why he
should weep, having brought the sorrow upon him by his own
deed विलोकन (विलाप) येन विनोद यद रुदितम् therefore crying
is certainly a gain in that he still breathes (though heavily on
account of sorrow) She means—If Rama had not wept his,
sorrow would have had no outlet and the consequences might
have been most serious The fact that he shed tears has

-III. 30] UTTARARÂMACHARITA 101
lightened his grief and enables him to live though with
difficulty
P 71 Verse 31 This verse contains four apparent
contradictions, one in each line दलति भिद्यते my heart, the
agony of which is very deep, breaks, but is not cut up in two.
If the heart breaks, we expect to find it cut up But the word
'breaks' (दलति) is not to be literally understood but metapho-
rically and thus the contradiction (between दलति and द्विधा न
भिद्यते) is removed Explain similarly the following lines
गाढोद्वेगं यस्य We may also take गाढोद्वेगाद् as an अन्यदीयमान् गाढ
उद्वेगः यथा स्यात्तथा G seems to have read गाढोद्वेग Then the
meaning is deep agony breaks my heart Here हृदय will be in
the acc and we shall have to supply हृदय in the nom before
भिद्यते, the symmetry of the four lines will be lost So the read-
ing of G must be discarded For the intransitive use of दलति
compare above 'कथं दलति वज्रमयं हृदयम्' p 18 (text) वहति चेतनाम्
the body being overwhelmed brings on stupor, but does not
lose consciousness ज्वलति भस्मसात् internal heat (due to
sorrow) burns the body, but does not reduce it to ashes कृन्तति ..
जीवितम् Fate, cutting the vitals, strikes, but does not cut life.
The affix सात् is applied to a word in conjunction with the roots
कृ, भू, and अस् in the sense of कार्त्स्न्यं (totality) 'विभाषा साति
कार्त्स्न्ये' पा 5 4 52 (निविष्टार्थे सातिर्वा स्यात्कात्स्न्ये) This verse
occurs in the मालतीमाधव IX 12 Note the remarks of त्रिपुरारि
on मालती "अन्तरेव हि दग्धे यादृशी व्यथा स्यात्तादृशी व्यथा हृदि वर्तते । यदि
मोहः कथमेव जानामीत्यत्रोत्तरम् । चेतना तु न मुञ्चत्येवेत्याशयः । तद्यान्तर्दाहः
साण्डवनलधूमितपोटान्तरवत्सतु दहति । नहि 'देहं भस्मीकरो' इति भात्सर्वाप्ति-
रिति न म्लानता न दृढयते इत्यत्र भस्मसात् करोतीत्युत्तरम्" Verse 32.
न किल सा The queen's residence in my house was
not approved of by you त्वं लघुर therefore she was abandoned
in a tenantless forest as if she were a blade of grass. The words
नृशंस are used to show by contrast the great value which Râma
set on the people's opinion न अनुरोदिता was not mourned for.
चिर.. मया those various objects that have been familiar to me
for a long time परिद्रवयन्ति cause to melt (i e affect) The
reading परिस्रवयन्ति is not good इदं रुद्यते here do I, being help-
less to-day, cry, forgive me (for it). राम says that to cry for
सीता would have been to blame the people impliedly. But he
says that he is helpless and begs to be pardoned for the nonce,
as he has become unnerved by the sight of the objects in दण्डवती,

102 NOTES ON [ III 32-
इदं रूयते—Impersonal अति भारस्य deep is the filling of the exces
sive grief (of राम) i. e Rāma's heart has been deeply affected
by sorrow आपूरणम् filling, making full (from all sides) सम्भारः
preparation collection The reading मयि शोकमावस्य is prefer-
able to the one in the text. It means 'the ocean of the sorrow
( of राम ) has been deeply filled अवगूर्ण्ण ( the reading of V and
Gh ) is a word rarely used It seems to mean 'eddy, tide '
मयि रम्भडताम् have recourse to firmness as to what is past She
means—there is no use in being deeply affected as to what is
gone so take courage विमुञ्चवे—Rāma retorts—there is no
need to call upon me to be firm, I have been more than that
Verse 33 दन्धा वत्सर this is the 12th year since the world was
bereft of the queen प्रनष्ट नामापि even her name has as if dis-
appeared न च नावसि and it is not that Rāma does not live
i. e Rāma does continue to live Two negatives are employed
for precluding a possible negation 'सम्भाव्यनिषेधनिर्वर्त्तने द्वौ प्रतिषेधौ'
वामन० का०वा०वृ० १ । १
P 72 मोदितास्मि I am charmed . Verse 34 नैताः
दारुणा these words, full of affection, are not (i e should not
be ) very agreeable (to you) being terrible on account of the
grief (they convey ) एता स्रवन्ति these are the streams of honey
full of poison that fall upon you Here शोक corresponds to विष
and स्नेह to मधु Just as one would not like to have showered on
his body poisonous streams though full of honey, so you should
not welcome with joy these words of राम though full of affec-
tion, because they expose the great havoc which grief has played
with his heart. Connect मया with न न सोढ in the following verse
Verse 35 The principal sentence is शोकशङ्कु मया नसोढः किम् यथा
क्षत (piercing or painful) like a fiery dart imbedded obliquely
in the heart तिर्य्यीन is derived from तिर्यञ्च् with the affix इन
अलात—तग्र firebrand, half burnt wood 'अङ्गारोऽलातमुलमुकम्'
इत्यमर A burning dart would cause great pain if planted in
the heart The pain would be greater still if the dart were
planted crookedly instead of in a straight line प्रणुन्नम् Thrust
in, past pass p of नुद् with प्रनि सविषश्च दंश and (like) a poison-
ous bite Supply यथा before सविषश्च We have also to under
stand बीजन्द् and सीत्र respectively with शल्य and दंश तथैव सोढः
Similarly did I not endure the piercing dart of sorrow in my-
heart, though it cut the vitals (of my heart) ? सोढः past pass p.
of सह्. पुरापि—once she caused trouble to Rāma when she was

carried away by Rāvaṇa. आयासकारिणा causing trouble. अपिनिष्कम्प
स्तम्भितं च मनः कृत्वा यस्य तस्य--though my heart is very firm and
steady, निष्कम्प motionless स्तम्भित made steady. संस्तुतानि तानि
तानि नियतस्थानि तेषां दर्शनात् संस्तुत वेग (still) my excitement has
become fierce (or boundless) by seeing those various familiar
things that were dear to me. The things referred to are those
in पञ्चवटी which have been mentioned in the preceding dialogue
between वासन्ती and राम. संस्तुत=परिचित. वृद्दान् to explain
Verse 36. The principal sentence is कोऽपि मनोविकारः प्रसह्य
प्रमथ्नाति—Some indescribable emotion of the heart spreads over
me vehemently. रोद्धे सम्भ्रमाय in order to stop (or check) the
growth (उन्मन्मन्) of the sorrow (करण) that is excited and
gone beyond bounds. वेगाया (मदाघाया) उद्दोल क्षुभितस्य च करण-
स्य उन्मन्मन् (वृद्धिं) तस्य सम्भरणान् यो भित्त्वा after having again
and again baffled (lit broken) every effort which is made by
me in my mind with great difficulty. सैकतं ओघः just as a flood
of water of irresistible velocity breaks through a dam (सेतु)
of sand and spreads. Connect तोयस्य with ओघः. We have to
expand the last line into अप्रतिहतजव तोयस्य ओघः सैकतं सेतुं भित्त्वा
भित्त्वा यथा प्रसरति. अप्रतिहतः रयः (वेगः) यस्य रेतस्--from सिकता
with affix अण् according to 'सिकताभ्यश्च्छः' पा. ५. २. १०४ (सैकतो
घटः । शाकरः ।). Most editions read क्षोभोद्दोल० The meaning then
is क्षोभा (चञ्चल) उद्दोल (waves) यस्य सः क्षोभोद्दोलः अतएव क्षुभित-
स्य—which is agitated because it rises high. 'महास्तू' इत्यर्थः'
इत्यमरः. Or it may mean 'extremely unsteady' क्षोभात् (चञ्चलात्)
ओघः संविघटन क्षुभितश्च &c. This reading is not bad, but it is
not so easily construable as the one in the text. G. seems to
have read 'हेतोद्दोल' which means 'easily unsteady'. This is not
good. Some read करण for जन. हेतोद्दोलश्च तत् क्षुभितं करणं
तत्करणं or एतन्निश्च क्षुभितन्ते च करणानि (इन्द्रियानि) &c. This is
not a happy reading. राम tries not to check his organs or
mind, but rather his outbursting sorrow. This is what he says
in the words अपिनिष्पन्न &c. The reading हित्वा (having aban-
doned) does not yield a good sense.
P. 73. दुर्वार-दुःख its own grief being removed by this
agitation of the sorrow (of my lord) the operation of which is
irresistible and terrible. दुर्वारं दारुणं च आरम्भः यस्य, परिमुषितं
निजदुःखं यस्य—this qualifies हृदयम्. सीता means that the manner in
which Rāma is lamenting frightens her so much that she has
forgotten her own sorrow and is stupefied by the thought of

104 NOTES ON [ III. 36-
what the consequences of her lord's extreme grief may be
किमपि हृदयम् my heart has been stunned in an indescribable
manner कष्टं • देव his Majesty (Rāma) has been reduced to a
sad condition तद् क्षिपामि therefore I shall divert his attention
elsewhere आनयतु देव let your Majesty honour सद्दीपनं तर्कयामि
I guess that the remedy for relieving (Rāma's sorrow) which
my dear friend employs will surely increase his grief सन्दीपन -
the affix अन is कर्तृवाचक here (मन्दीयद्वति इति) वासन्ती drew Rāma's
attention to some familiar spots in शमण्डल for the purpose of
relieving his sorrow सीता feels sure that the result will be
quite the reverse If we take the reading of V and Gh, the
meaning will be "my dear friend looks upon the things that are
calculated to excite (शम) as a remedy for relieving (his sorrow)
This is not bad Verse 37. तस्या मार्ग तेन्मागं तस्मिन् दत्ता दृशयेन-
who had fixed his eye on the way (by which she was to return)
दृते हुवा (कृतं कौतुकं यस्या ) whose admiration (or curiosity) was
roused by the hamsas सैकतम् (a sandy bank) is derived from
सिकता with the affix अण् (अ) according to 'देशे लुपिचो च' पा
5 2 105 (वाऽस्य मतुप् च । सिकताः सन्ति अस्मिन्देशे इति सिकताः सिकतिलः
सैकतं सिकतिलः । सि कौ. ) Some read ०रोधसि (on the bank) for
०सैकते आयात्या-connect this with तया परि वीक्ष्य marking that
you seemed to be vexed (by her tarrying too long) परिदुर्मनायिम-
displeased, vexed-past pass p of the denominative verb दुर्मनायते
with परि Vide notes (p 10) on दुर्मनायमाणम् बद्धलया अञ्ज she,
through timidity, joined her hands in salutation prettily so as to
make the (folded) hands appear like a lotus bud कातरम्-
कातरस्य भाव Rāma was not really angry, but Sita fancied that
he was angry at her tarrying too long and wanted to mollify
him by folding her hands before him as a suppliant G finds
fault with the author for this description of Sītā, but he seems
to be too fastidious वीर० remarks "प्रणामाञ्जलि मलयन्त्यन्तरङ्गादि
प्रणामाङ्गुतान्तरित्यर्थः । अथवा 'नामयन्नति वा देव प्रह्रीभावयति ध्रुवम् । प्रह्नी
भवति नीचो हि परो नेच्य विलोपयन् ॥ अतो वा नम्रगच्छीद यत्तं नामयति स्वयम् ।
वाचा नम इति प्रोच्य वपुषा ननमा च यत् ॥' इति भगवच्छास्त्रोक्तरीत्या प्रणाम वौशे-
द्वतरामहृदयगमनहेतुभूतोऽञ्जेलिरित्यर्थः । उक्तं च 'अञ्जलिः परमा मुद्रा क्षिप्रे देवप्रसा
दिनी' इति । अत एव रामायणे 'कृतापराधस्य हि ते नान्यत्पश्याम्यहं क्षमम् । अन्यत्रे
णाञ्जलिं बद्धा लक्ष्मणस्य प्रसादनात् ॥' इति " This verse occurs in the
दशरूपक (IV 58) as an example of प्रहर्षणान हृदयमर्मणि गूढ शल्य सम्र -
संपट्टने (चालने) by the moving of the dart that lies imbedded in
the vitals of the heart. A dart planted in the body causes pain,

—III. 37 ] UTTARARĀMACHARITA 105
but when it is moved after entering the body, the pain becomes
greater still So the sorrow of Rāma had already tormented
him a great deal. By pointedly referring to former incidents in
his life Vāsantī made the sorrow more poignant.
P. 74 चण्डि Oh cruel one or angry one वीर० says 'क्वानसी
त्युक्त्वा परस्परप्राप्तेनकराम्य शान्तवेड निददक्त लोचिन्तेने दद्यदते' इत्यन्वो •
दृश्यसे you as if seem to be here and there, but you do not pity
me. Rāma means that he feels as if she were present all round
him, but his physical eye cannot catch her. Verse 38 The
poet here describes the extreme intensity of Rāma's grief. This
verse is one of Bhavabhūti's masterpieces हाहा—shows extreme
grief दलते ह्द्यं my whole frame is unnerved (or the joints
of my body become relaxed) शून्यं जगन्ती I regard the whole
world as a void (because you are not in it) I burn within with
dense flames अविरल ज्वाल तया यः यथा (अव्ययीभाव ) नीदृक्—pr.
parti nom sing mas (of दृश्)—goes with अन्तरात्मा अन्धयति इति
अन्धन् that which makes one blind विधुर helpless साङ् रात्मा
my languishing soul, being helpless as if sinks in pitchy dark-
ness. विष्वङ् सर्वतः everywhere, in all directions. Or विष्वङ् (all-
pervading) may be an adjective of मोह The first seems prefer-
able. किम् करोमि stupor envelopes me from all sides, what
shall I an unfortunate man, do ? कदनु is equal to किन्दु न्पादति
causal of न्यद् 1 P to conceal, cover The reading अविरलवालु
would mean 'with incessant flames' On 'क्व करोमि' वीर० re-
marks 'किं तद्दरगोगादि निवारदानि, उत तदामनार्थं शोकाननुवदानि, अथवा
तादृशवृत्त त्वामन्वेषामि वेति भावः' This verse occurs in मालतीमाधव IX.
20 where we read मन्मथदहति जगद्धर very well brings out the
Vyabhichāribhāvas of the Sthāyibhāva (Śoka) of the sentiment
of pathos 'विधा भवति हृदयनिति दैन्य, अवयवमन्वि शिथितीभवतीलत्सङ्ग।
विश्वं शून्यं मन्ये इति शून्यताचेतना निर्वेद । अविरलज्वान पदा तपान्तम्वलताति
विनावतितो दाह । अन्तरात्मा निरानन्द संशयवमाद्वग उन्मादा प्रकारे मन्वतीरेनि
न्गन्धे । विष्वक् सर्वतो मोहइण्डयतीति मोहः। मन्दभाग्योह किं करोमीति दैन्यम् "
उद्दिश्य with reference to मङ्गल— एतन्सि alas ! accursed am I in that
again and again there comes over you who are the support of
the welfare of the whole mortal world a change which is terrible
because it puts your life in danger सुरुदि० जीवि० यस्मिन् सः संपदित
अविश मत एव दारुण दशापरिणाम lit. development of condition i. e.
change. ने reads सकलमङ्गलमस्य ( सकलजीवलोकस्य मङ्गलं साधु मङ्गल्यं
जनकस्य यस्य ), which means 'whose birth was auspicious to the