उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

-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

106 NOTES ON [III 38—
whole world'. G reads मङ्गलाधारमङ्गलस्य (whose birth was the
support of the welfare of the whole world). This is not bad.
By fainting again and again on account of his sorrow for Sītā,
Rāma's life is endangered. त्वया भद्रम् the touch of your hand
alone is the means of bringing back to consciousness dear राम
P. 75 सम्भावय (lit. cause to be) bring to life. दिष्ट्या
(instru. sing. of दिष्टि, used as an adverb) fortunately. प्रत्यापन्न-
चेतना येन स ०चेतनः—who has regained his consciousness.
Verse 39 आश्लिषन् goes with सम्प्रत्य ०त्मानम् is the object of
आश्लिषन् (pre. parti. nom. sing. mas. of श्लिष् with आ). आलिम्पन्
धातून् besmearing the constituents of my body both inside and
outside with ointments as if prepared from nectar. The
धातवः are said to be seven 'रसामृङ्मांसमेदोऽस्थिमज्जशुक्राणि धातवः'
(वाग्भट). पुनर् दधत् all of a sudden bringing me back to life.
[L16: आनन्दः मोहन् brings on a stupor as if of another kind on
account of the joy it causes. The idea is similar to that in
verse 12 above and in Act I. 35. आनन्देन निमीलिते अक्षिणी यस्य
whose eyes were closed through joy. कथमय how possibly, I
should like to know how. मर्मच्छेदकारणे terrible because they cut
the vitals. चिरात् स्निग्धेन by the touch of my lord which (touch)
is agreeable and cool on account of his long continued goodness
सङ्गेन goodness of heart, attachment. यत्न यद्धृदयं which is as if
tied (to him) by cement and which quickly removes my pain
that was long and terrible. वज्रलेप a kind of very sticky cement.
स्विद्यन् perspiring and unbearably paralysed. वेपनशील
trembling. जडम्िव as if powerless. This sentence indicates some
of the सात्त्विकभावs viz. स्तम्भ and स्वेद. She could not take off her
hand from Rama's body though she desired to go away. G.
seems to have read चिरप्रणयसम्बन्धीहृद्य which means 'agreeable
on account of his deeply loving nature' (चिर प्रणय सम्बन्धिन् स
चासौ हृद्यश्च तस्य भावः). N. and G. read उन्मथ्यन्, which seems to
mean lessening. शपाययति is a denominative verb from शपु. द्रुतं
प्रलापः how is this raving talk? He means that he is not raving
but speaking the truth. Verse 40 दर्भोपग्रहेण in the ceremony
of marriage. कङ्कणधर wearing the marriage-string (on the wrist).
Supply नया before गुणैः. सुधायाः (अमृतस्य) मूर्तिं (व्यक्तिं) दधानम्
स सुधामूर्तिः चन्द्रः. The moon is said to be full of nectar, which
is drunk by the Gods and the Manes. 'सुधांशोः सुधया देवास्तृप्यन्ति
चन्द्रमा । पितृभिर्गोः शश्वत्पिबद्भिः सुधामयः ॥ विष्णुपुराण II. 11. 22

—III 40] UTTARARĀMACHARITA. 107
... सुधा-मित्रं which was familiar with (i. e. a friend of)
the rays of the moon that are as cool as nectar. It must be
admitted that the reading in the text does not yield a satisfactory
sense. The meaning seems to be that the hand possessed the
same qualities as the rays of the moon. The reading चिर-
संस्मृत... can be construed much more easily than the one in
the text. The meaning then will be — that was familiar to me
on account of the touches, cool like nectar that I enjoyed for a
long time; will. स एव त्वम् you are now the same that you
were at that time (when I was married to you). Sītā had just
then touched Rāma. She says that she feels the same pleasur-
able sensations on touching him, which she experienced when
her hand was taken by Rāma at the time of marriage and after-
wards. घन explains 'स एव हस्तसंस्पर्शेन यः सुहृद्भूतः स एव परिचितः
स एव संनिधानात्स एव । तेनाद्यपि स्पर्शवशेन कुतस्त्वमेव तत्परिचितस्त्वं
चामृतकिरणपरिचितश्च बभूविथ' रिति भावः । नन्वेकस्य महद्भूतम् ।' Or we
may look upon the sentence as interrogative: my lord, are you
now the same (i. e. as loving and full of concern for me)
as you were then? This is not, however, so good as the
first, because after what Sītā has actually seen, she can
scarcely have any doubt left about Rāma's love for her.
न तु अयम्—these words go with दृशौ. तुहिन-शौ—charming
on account of its resemblance to a lump of snow. तुहिनस्य
(हिमस्य) निकरः (समूहः) तस्य शौचम् (सम्बन्धः) तेन शुभा (मनोहरा).
उत्पल-किसलयम् resembling a tender lotus sprout. The two clauses
तुषार... and उत्पल... indicate the extreme fairness, coolness and
softness of the hand of Sītā. N. and G. read सव्यकरतुलितसुभगः which
does not yield a good sense. It means (अन्य इतरः सव्यहस्तः तेन
कर-तुल्य-सौन्दर्येण शुभा) charming on account of its resemblance
to the other hand of hers. This is hardly of any use in the
context. घन० remarks 'सव्येतरकरः दक्षिणहस्तः तथा दक्षिणकरा-
परहस्तसौन्दर्यादपि श्रेष्ठः'
P. 77. कर-मोहेनैव who was maddened by the
touch of my lord. She could not take her hand off from
the body of Rāma, who seized it. We have seen (p. 57 text)
that she was afraid of incurring the displeasure of Rāma for
approaching him without his permission. But here she allowed
her hand to be seized by him. प्रमाद carelessness, blunder.
अन्तर्लीन-निमीलित-ताम्यत्करणैः दृप्तैः—whose senses are closed (i. e.

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

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

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

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

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

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

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

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

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

—III. 47] UTTARARĀMACHARITA. 117

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

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

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

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

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