उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

[V 26 ] UTTARARĀMACHARITA. 155
इति ) मयि दृष्टि आनन्दं भजति कुरुते कामं यस्य desirous of a fight This
is the predicate of अयं बाहुः रत्कारेण क्रूरं क्वणितं यस्य सः क्वणितः गुणः
( ज्या ) तेन शुञ्जत् ( अव्यक्तं शब्दं कुर्वद् ) गुरु धनुः तस्मिन् धृतः प्रेमा येन—that
has fixed its love upon my heavy bow that is tuneful on
account of the string that resounds with a terrible twang
रत्कोर is an onomatopoetic word निकर ( स्फुट ) विकराल ( दुष्ट ,
भयानक इति यावत् ) उल्बणरस ( वीर्यरस ) यस्य—the terrific valour of
which is quite manifest N and G read विकच व्रणमुख which
is to be dissolved as विकचानि विकरालानि व्रणमुखानि यस्य on which are
displayed open wounds that are terrific Or we may dissolve
विकचा विकराला व्रणा मुखे ( अग्रे ) यस्य This is not a bad reading
We must suppose that Lava had received certain awful wounds
in the arm while fighting with the soldiers of चन्द्रकेतु But that
does not seem likely and there is no reference to these wounds
anywhere else in the drama अहित कल्पताम् may the primeval
Boar bring about the defeat of your enemy The suggested
meaning ( intended by the author ) is that as Lava was
really the cousin of चन्द्रकेतु and not his enemy this blesssing does
not in any way touch Lava. पराजयाय कल्पताम् — The result or
object for which an act is to be done is put in the dative,
according to 'तादर्थ्ये चतुर्थी वाच्या' वार्त्तिक on पा I. 4. 44 आदिवराह —
the reference is to the Boar incarnation of Vishnu Why this
particular incarnation is invoked for bringing about the defeat
of the enemy is not quite clear The commentary quotes a
verse giving one reason The reason is probably to be found
in the fact that it was first in this incarnation that Vishnu
tried to undo the evil effects of the misdeeds of the enemies of
the world ( i- e- the demons ) by bringing up the earth from
the bottom of the ocean where it had been carried by the
demon हिरण्याक्ष Compare गीतगोविन्द 'वसति दशनशिखरे धरणी तव लग्ना
शशिनि कलङ्ककलेव निमग्ना। केशव धृतशूकररूप जय जगदीश हरे॥'— We may
advance another reason In most ancient works the descriptions
of the incarnations of Vishnu begin from the Boar See मार्कण्डे-
यपुराण IV 54 The reason of the invocation of Varaha may
also be found in the fact that many royal houses had adopted
the Boar or Garuda as their tutelary deity on seals and banners
as can be seen from the seals on copperplate grants and inscrip-
tions In place of this line most editions read 'अजिनं पुण्यमूर्जितं
ककुद्मन्तमिव ते महः। नियतं शाश्वतो देवो वाराहः परिपच्यताम्॥'—may the eternal
god Varaha grant for your welfare holy, unconquerable
and mighty lustre (or power), as for ककुत्स्थ ककुत्स्थ was an

156 NOTES ON [V. 26-
ancestor of राम He was the grandson of इक्ष्वाकु His original
name was पुरंजय The gods being defeated by the demons,
इन्द्र solicited his help He promised to help the gods, if
Indra would assume the form of a bull and carry him on his
shoulders Indra did so and पुरंजय vanquished the enemies of
the gods hence he was called ककुत्स्थ (lit sitting on the hump)
See विष्णुपुराण IV 2.
P 118 Verse 27 धिनोतु-प्रीणयतु The root is said to be धिन्
5 P to please. मैत्रावरुणि-वसिष्ठ—See notes p 15 Even in the निरुक्त
the birth of वसिष्ठ from the seed of मित्र and वरुण is referred to
and a Vedic verse is quoted where वशिष्ठ is called मैत्रावरुण "उर्वशी
हप्सरा तस्या दृग्तान्मित्रावरुणयो रेतश्चस्कन्द तदभिवादितायेषर्गर्भवति । 'उतासि
मैत्रावरुणो वसिष्ठोर्वश्या ब्रह्मन्मनसोधिजातः ।'" (ऋग्वेद VII. 33 11) ऐन्द्रा ते
may the prowess of इन्द्र and विष्णु of अग्नि and the Maruts and of
Garuda be thine इन्द्रश्च विष्णुश्च इन्द्राविष्णू according to 'देवताद्वन्द्वे च'
पा 6 3 26 (इहोत्तरपदे आनङ् । मित्रावरुणौ । मि त्रौ ) When the
names of deities form a द्वन्द्व compound the final vowel of the
first member is changed to आ In forming derivatives from
such compounds, the first vowels of both members undergo वृद्धि
according to 'देवताद्वन्द्वे च' पा 7 3 21 (अत्र पूर्वोत्तरपदयोरुभयो वृद्धि
स्यात् षिति णिति किति च परे। आग्निमारुतम्) The Maruts are stormgods
in the Rigveda. They are often associated with Agni in the
Veda e g 'मरुद्भिरग्न आगहि' which is the refrain of Rigveda I. 19
सुपर्णस्य गरुत्स इद इति सौपर्णम् He was the son of विनता and became
the vehicle of विष्णु देयात् benedictive of दा ज्याघोष एव मन्त्र देया
त्पदम् may the incantation in the form of the twanging of the
bowstring of Rama and Lakshmana grant you victory
प्रत्यारोप्य-place back को वरणेषु what hesitation can there
be as to (using) ones own furniture! He means—चन्द्रकेतु
has already said whatever is mine is thine (in verse 0
above). Therefore the chariot you offer is mine. You need not
press me so much But I am unaccustomed to driving in a
chariot Some explain—Lava is speaking as a Kshatriya and
so he calls the chariot &c his proper implements This is not
good as we lose sight of the word हेतु (which does not mean
'proper') and of the following sentence वि तु &c अरण्ये सीदन्ति
वसन्ति इति अरण्यसदः अनभ्यस्ता रथचर्या येषाम्-not accustomed to the
management of chariots अभिष्यन्देत-would flow or melt Verse 28.
वय याज्ञिन We also (i. e I) are not in this way obstructors
of sacrifices एव says-Rama is a good king I am also not in

158 NOTES ON [V. 30-
things धेनुम् कामधेनुम् All welfare follows from agreeable speech.
Compare 'प्रियमेवाभिधातव्यं नित्यं साधु द्विषत्सु च । तिर्यक्षु चैवामधुरं प्रियवा-
ङ्नश्य न प्रियं ॥' कामन्दकीयनीतिसार III. 26 'सूनृतं प्रिये। सत्येऽथ' रत्नमर-
सूनृत adj true and agreeable. Note 'सत्यं ब्रूयात्प्रियं ब्रूयान्न ब्रूयात्सत्य-
मप्रियम् । प्रियं च नानृतं ब्रूयादेष धर्मः सनातनः ॥' मनु० 4 138. N reads
'दुग्धे विप्रप्रभृति' which वीर० explains as 'शष्पदे अतिशयेन नाशयति'.
P. 130 परिपूत (holy) सम्भार दम्भ The reading of N.
परिभूत० (defeated, insulted) is not bad. सुभट means—Lava
has been insulted by our soldiers But this sentence is
rather abrupt and unconnected with what follows. अभिरूपम्
what is right. आर्षेण संस्कारेण with a purity of speech that
belongs to the sages. ऋषेः अयं चार्षः संस्कार grammatical purity.
'ससंस्कारवलासी पुत्राभ्यामथ सीतया । कृपेतवोद्दिष्टे सूर्ये रामं मुनिरुपस्थितः ॥'
रघु० 15 76, where मलिनाथ explains संस्कार as शब्दशुद्धि By the
words आर्ष संस्कार, शुनःशेप refers to such peculiarities in his
speech as the use of ह and अभिब्रुवन्ति and the verse 'कामं दुग्धे ३'
०व्यवस्थित विषय यस्य क्षात्रं धर्म are the virtues of the क्षत्रिय
class confined to a particular individual only? He means,—
should not other persons than Rama aspire to be the greatest
among क्षत्रियस विरमा सहसात् desist from excess (from as-
serting too much or from too much persistence) विरम्—
is to the परस्मैपद, vide notes p. 20 on स्वरतीङ् For the ablative,
vide notes p 12 Verse 31 ओजायित स्थित्वा—you have acted like
a valorous person. ओजायित past pass. p. from the denomina-
tive verb ओजायते (ओजस्वा इव आचरति इति) The सिद्धान्तकौमुदी
remarks on the वार्तिक 'ओजसोऽप्सरसो नित्यम्' 'ओजः शब्दो वृत्तिविषये
त्यदन्तः। ओजायते।' नात्यन्तय इति you will please not persist (in
your conduct) as to the subduer of परशुराम. For the encounter
between राम and परशुराम see notes p 21 निर्बन्ध importunity,
persistence The reading नाति० इति means 'you should not
revile &c उद्भेदात् loud boast. Verse 32 सिद्ध settled. बाहो ०
क्षत्रियाणाम् as for the prowess of the arms, that belongs to the
Kshatriyas शस्त्र बाह्मस्य—परशुराम who had taken up weapons
was a Brahmana तस्मिन् राज् if he (a ब्राह्मण) was subdued,
what praise is it for that king? कः means—If a क्षत्रिय conquered
a fighting ब्राह्मण whose usual occupation is another, there is no
reason for boasting सोन्मादमिव as if with excitement. कृतं परेण
enough of repartee Verse 33 कोप्येष ...तार this is some indes-
cribable incarnation of a manly person (lit. of a man). वीरो ० यि
to whom (i e in whose eyes) even the descendant of Bhrigu is

-V. 33] UTTARARĀMACHARITA 159
०२० here ध्याता (पूर्णा) महद्भुवनस्य (सप्तसु भुवनेषु समन्तात् महद्भुवनं)
अभयमेव दक्षिणा यैः or येषु-(the deeds of राम) by which the gift
of safety was completely secured to the seven worlds. यदि वन्-
द्यन् if indeed something might be said or 'I may possibly have
something to say' अथवा शन्तम् or peace (be to what I wished
to say) Verse 34 ते-refers to राम The plural is here used
to show mock respect विचार्याय चरितं नेषाम् वृद्धा एते-
they are old men and their conduct should not be discussed
(criticized). He implies that it is only their old age that
commands respect and not their conduct तिष्ठन्तु let them
remain apart किं वर्ण्यते what in them is worth describing? Or
the word may mean "why describe them" The reading नु वर्ण्यते
would mean 'shall I describe them" Some read नु वर्ण्य, which
seems to mean 'is their anything (remaining to be said)
अकुण्ठ (अप्रतिहत) यश देषाम् सुन्दसी-ताडका Vide notes p 17 for
ताडका क्षुद्र हे Even after destroying the wife of Sunda, their
fame is unimpeded (perfect), for they are the great ones in the
world. A क्षत्रिय should not fight with a woman. राम fought
with a woman and killed her लव retorts by saying
'in spite of this you call Rama a great person. यानि
द्रीयन्ते as to the three steps that Rama took without
turning his face in the fight with the demon Khara
आगोपनम् fight. When खर darted towards Râma with speed
and ferocity, Rama took two or three steps backwards
(possibly to take better aim). 'तमापतन्तं सहसा दृष्ट्वा दृप्तञ्च राक्षसम् ।
अपासत्द्वित्रिपदं विजिगीषुरजिह्मगम् ॥ ततः प्रहसतास्तेन पदात् समरे खरम् ।
रामो ददर्श सङ्क्रुद्धस्त्वरमाणमिवान्तकम् ॥' अरण्यकाण्ड 30 23-24 Some read अमुग्धेन
यानि (नास्ति कुण्ठोऽपि भय यस्मिन्) which means 'fearless In this
case it is ironically employed The reading असाधूनि is how-
ever preferable, as it brings out the sarcasm of Lava better in
relief It was laid down that a क्षत्रिय should not retreat from
a battle Vide मनु० VII. 87 इन्द्रसूनु-वाली While बालि was
engaged in fighting with सुग्रीव, राम shot an arrow at वाली and
killed him 'ततो रामो महातेजा मार्ग दृष्ट्वा हरीश्वरम् । सशरं वीक्ष्य तं वारणं वालिने
व्यसृजद्बुधः ॥ ततो धनुषि सन्धाय शरमशीविषोपमम् । पूरयामास तच्चापं दृढज्यं
विस्फार्यन् ॥ ददर्शाथ महातेजा वीरयुग्मं कपीश्वरः । तेनाभिहतो वाली निष्पपात
महीतले ।' किष्किन्धाकाण्ड 16 32-33, 35 वालि rebukes राम thus 'पराङ्मुख-
शरञ्च क्रुद्धं कोऽत्र शक्तस्त्वया गुरुम् । इदं तु दुष्करं कर्म कृतं निष्कारणम् ॥' किष्कि-
न्धा० 17 16 तत्रापि-this refers to retreating three steps and the
killing of Vali. The code of the rules of war in ancient India
required that a warrior should not attack another already

engaged in fighting with a third person 'नायुध्यमानं पश्यन्तं न
परेण समागतम्' मनु० VII 62. It will be seen that Lava selects
the three actions in Rama's career that are most open to
criticism and charges Rama with having violated the code of
honour prescribed for क्षत्रियs. This verse is cited in दशरूपक
(I 45) under निरङ्कार. क्षेमेन्द्र in his औचित्यविचारचर्चा points out
the impropriety on the part of भवभूति that he should lay stress
upon the weak points in the career of the hero of his drama
'अत्राप्रधानस्य रामसूनोः कुमारलवस्य परप्रतापोपशमदर्शिनोदाररसोद्दीपनात् सकलप्र-
बन्धजीवितावमूर्तभूतस्य प्रधाननायकस्य वीररसस्य नाट्यवादमसदरणादमरस-
मन्वयरहसंमस्कवातिव्यापादनादिनानाविधोपादायमनिपादनेन स्ववचसा करिना विनाशन-
ङ्गन् इत्यनुचितमेतत् ।' This is also condemned by the साहित्यदर्पण (VI)
'यत्त्पादतुचितं वस्तु नायकस्य रसस्य वा । विरुद्ध तत्परिहार्यं स्यादन्यथा वा प्रकल्पयेत् ॥
अनुचितमितिवृत्तं यथा रामस्य छद्मना वालिवधः । तन्मोदगवराघवे नोक्तमेव । वीरचरित्रे
तु बाली रामवधाऽभ्यागतो रामेण हत इत्यन्यथा कृतः ॥' तातापवादेन भिन्ना मर्यादा
येन who has committed a breach of good manners by reviling
my father (to my face) प्रगल्भते braggest मय्येव सङ्कट-he
has turned his frowning face on me एव has a force of its own.
Lava means-'he has no reason to be angry with me, it is
rather I who should be angry, being insulted by the escort of
the horse' The reading ... is better than the one in the
text वीर० explains: This
line occurs in the ... their
anger has been inflamed. Verse 35 चूडा वेपथु tremor caused
by their intense feeling shakes the knot of the collection of
their hair. तरलयति denominative verb from तरल ( a ly ) विचित्रा
is to be connected either with सङ्कटे or रक्तदल The latter is
preferable 'रक्तोऽब्जं कोकनदम्' इत्यमरः कोकनद ( कोशे घनच्छदा नदन्ति
अस्मिन् ) तस्य च्छदं पर्णम्. 'दलं पर्णं छदं पुमान्' इत्यमरः रक्तदल become
red धत्ते-the subject of this is वक्त्रम्, the object being कान्तिम्
Construe अखण्डताण्डवितयोः भ्रुवोः भेदेन वक्त्रं चन्द्रस्य कमलस्य च कान्तिं धत्ते.
कान्ति luster, beauty अखण्डताण्डवितयोः that began to dance all
of a sudden भेदेन by the knitting सङ्कटं श्यामलम् यस्य-the spot
on which is prominent उद्भ्रान्ता भृङ्गा यस्मिन्-on which the bees
are hovering. On account of anger the boys knit their brows.
Their handsome and round faces with the dark brows knit are
fitly compared to the moon with the dark spot prominently
visible upon it and to the white lotus on which dark bees are
hovering. विटपांकुशाः, वि० वि० विशुद्धांकुशाः

—VI 1] UTTARARĀMACHARITA. 161
Act VI.
The scene of this Act is laid in the vicinity of Vālmīki's
hermitage The incidents narrated follow closely upon those
described in the fifth Act. भरत lays down that a fight should
not be represented on the stage and hence the audience is in-
formed about the progress of the battle by the intervention of
a dialogue between a pair of celestial beings. 'युद्धं राज्यभ्रंशो मरणं
नगरोपरोधनं चैव प्रत्यक्षानि तु नाटके नोचितं संनिवेशानि।' नाट्यशास्त्र 18 19
P 122 विद्याधर a semi-divine being possessed of superhuman
powers 'विद्याधरा जीमूतवाहनादयः षट्त्रिंशत्कलाविद्याधारिणः' क्षीरस्वामी
उद्दीपित... (भरतसार) कण्ठ तेन प्रभास्वरो उद्दीपिता क्षात्रलक्ष्मीः ययोः or
याभ्याम्—who have made the splendour of the might of the
क्षत्रिय class to blaze forth i. e. who have displayed to the utmost
a warlike spirit For क at the end of the compound, see notes
P. 6. अवधूतेन उत्थाता दवाग्नयः येषु—at which even the gods and
demons are flurried on account of their extreme wonderful
nature. विरचितचरितानि heroic deeds Verse 1 The principal
sentence is धनुः नियम्य शरान् किरतोः शूरयोः आपोधनं भुवनभीममभिवर्तते—
the fight of the brave (boys) showering arrows after stretch-
ing their bow rages (goes on) striking terror into the worlds.
of शिञ्जार and व्योमहरत्न are adv. of धनु रणरणेन झणत्कारेण क्वणि-
तानि संकिन्द्रा यस्य—the small bells of which are jingling and
resounding with the twanging sound. If we read काञ्चीकिङ्कि-
णीगुणशितम्—we shall have to dissolve as काञ्चीवत् वधूनां तरङ्गेण क्वणि-
तानि मन्दक्वणितानि किङ्किण्यो यस्य—that has bells tuneful like the
bracelets that jingle on (the wrists of ladies). ध्वनद्...गुण-
यस्य सः ज्यागुणभर्गी (धनुषः कोटिः) तया सह करालः कोलाहलः यस्मिन्—in
which there is a fierce noise made by the end of the bow that
hurts its big string twanging. विचित्र of 'wonderful'. Some read
अविरलगुरुघण्टो —whose locks are incessantly fluttering Verse 2
जृम्भते is the predicate of दुन्दुभिध्वनिः. जृम्भितम् has increased or ap-
peared. दिशि पदोपरि for the manifold welfare of both (लव and
चन्द्रकेतु). दुन्दुभिध्वनिः beating The reading of K. Gh and V.
'हितं भवं च दिव्यम्' is also good. In this case दिव्यम् is to be con-
nected with दुन्दुभे. It is usual for poets to represent that the
celestial drums are beaten when anything splendid or grand is
done by anybody on the earth The text should read मन्द्र (deep,
strong) with G It is difficult to explain what is meant by
मन्द्रदुन्दुभि प्ररवान्—the subject is पृथवीतल. The student will
notice that these two lines are full of alliteration and short

162 NOTES ON [VI 2-
syllables, which produce an effect similar to the quick throwing
of flowers. अनवरतम् incessantly. अविरत संहति - अविरल मिलितां
विकचानां ( प्रफुल्लानां ) कनककमलानां कमनीया ( मनोहरा ) संहतिः यस्मिन्—in
which there is a charming collection of full blown gold-coloured
lotuses that have been thickly strung together. भ्रमर सुन्दर —
भ्रमरतरूणां ( कल्पवृक्षाणां ) तरुणा ( नवा ) मणिसदृशा मुकुला तेषां निकर
( समूह ) तस्य मकरन्देन सुन्दर —charming on account of the honey
in the collection of jewel like fresh buds of the celestial trees.
P. 123. अकाण्डे विस्फुरिता विद्युत् तस्याः घटा ताभिः कपिशम् tawny
with the streaks of lightning that flashes all of a sudden. किं नु
खलु अथ—These words are to be connected with the following
verse. Verse 3. The principal sentence is किं नु खलु अथ पुटभेदः
( वर्तते ) are the lids (of the eye) opened to day? उज्ज्वल is an
adj. of पुटभेदः. त्वष्टु ( विश्वकर्मणः ) यन्त्र तस्य भ्रम्या भ्रान्त मार्तण्ड ( सूर्य )
तस्य ज्योतिर्वत् उज्ज्वलः —brilliant like the effulgence of the sun that
was revolved on the whet stone (lathe) of the architect of the
gods. ललाट चक्षुषः (the opening of the lids) of the eye of
Siva that is on the forehead (i. e. of the third eye of Siva).
त्वष्टृ had a daughter named संज्ञा that was married to the sun.
She could not bear the light of the sun. त्वष्टृ wishing to take away
the superfluous lustre of the sun placed the sun on his lathe,
and reduced one-eighth part of it. With the lustre thus taken
off, he prepared the चक्र of विष्णु, the trident of Rudra and the
other weapons of the gods. 'भ्रमिमारोप्य सूर्य तु तस्य तेजोविशातनम्।
कृतवान्त्वष्टा भागं च व्यशातयदथाष्टमम्॥ यत्तत्त्वैष्णवं तेजः शातितं विश्वकर्मणा।
त्वष्टैव तेजसा तेन विष्णोश्चक्रमकल्पयत्। त्रिशूलं चैव रुद्रस्य शिबिकां धनदस्य च॥ शक्तिं
गुहस्य देवानामन्येषां च यदायुधम्।' विष्णुपुराण III 2. 9-12, see also मार्कण्डे-
यपुराण chap. 77. Note रघु० VI. 32 'आरोप्य चक्रभ्रममुष्णतेजास्त्वष्टेव यत्नो-
ल्लिखितो विभाति॥' नीललोहित — शिव ('नीलः कण्ठः लोहितश्च केशेष्वितो नील-
लोहित इति पुराणम्' क्षीरस्वामी). The third eye of शिव is said to be
always closed as otherwise the universe would be burnt. It
was by the fire from the third eye that काम was burnt to ashes.
It will be noticed that with the reading in the text we have a
comparison upon a comparison. The appearance of the sky is
represented to be the opening of the eye of Siva which is com-
pared to the lustre of the sun. This is not very happy. If
we read ऽम्वलन्, (an अव्ययीभाव), the difficulty is not really
removed. काम क्षोभ मयः—who was provoked. अप्रतिरूपम् un-
equalled. आग्नेयम् presided over by Agni. अग्निः देवता अस्य इति
आग्नेयम् according to 'भवेर्ढक्' पा 4. 2. 33. अग्नि पात the falling of

-VI 4] UTTARARĀMACHARITA 153
the streaks of fire Verse 4 मन्दरथानि कबुरितानि (चित्रितानि) केतुचा
मराणि (केतवश्चामराणि च or केतुषु चामराणि) येषाम्—the chowries and
banners of which were slightly burnt and rendered variegated.
‘चित्रं किमरकल्माषशबलैश्च कबुरे' इत्यमर अपयानमेव have already depart
ed When fire was kindled by the missile of चन्द्रकेतु, the celestial
beings that were viewing the fight from aerial cars went away
N reads क्वणित—producing a murmuring sound. ध्वजा वलीन्
the row of banner-posts and the cloth (fluttering from them)
नव बन्धूक तरु द्युति तथा समानं निर्मल यस्य—which appears like the
splendour of a fresh बन्धूक flower A बन्धूक flower is red शिखी
fire Most editions read दधति ध्वजानुकरणैरभितः क्षातोदरच्छुरितविभ्रम
भिः—these flames of fire bear resemblance to the applica
tion of saffron for a moment on the skirts of the pieces of cloth
on the banner posts. क्षा तोदरस्य छुरितस्य विभ्रमस्तद्विभ्रमान्
besmearing overspreading In both readings the word इव is
rather redundant With the latter reading the idea is — be
lurid flames seem to lick the skirts of the banner-clothes The
poet represents that the cloths appear for a moment as if dyed
with saffron when the flames come in contact with the banners
This is a more poetic idea than the one in the text but the
reading seems to be a conjecture. प्रवृत्त—this is to be connected
with उपधूप उद्धत गुरु —उद्धटं यत्परश्वधदारणं तद्वद्गुरु (दीप्तं )
रवं येषान् ते स्फुटन्तो ये स्फुलिङ्गास्ते गुरु—which is fierce (lit. great)
on account of the sparks that are emitted with a sharp sound
resembling the awful splitting of the thunderbolt (i. e. resembl
ing the clap of thunder ). उद्दाल भैरव—उद्दालः प्रमुखा लेलिहाना
उज्ज्वला शिखास्तेषां समाहारेण भैरव—terrible on account of the
lines of flames that are unrestrained, fierce, licking (everyting)
and bright उद्दाल उद्गतलालायू लेलिहान—present part. of the
frequentative base of लिह उपधूप (उदधिं धूपयते इति that is kindled
at dawn) fire It is impossible to deal with all the various
readings in this passage Some read स्फोटगुरु, दार्यविस्फुलिङ्गुर,
which is good उत्सर्पिन् rising up spreading about Some
read ०स्फुरत्स्फुलिङ्गगुरु terrible in consequence of the sparks that
crack as sharply as &c सन्ताप heat. N reads वसुनेनावच्छाद्य
(covering with my garment) This is not good, as the words
of the विद्याधरा show
P 124 विमल स्पर्शेन by the touch of my lord's body, that
(touch) is cool, glossy (pleasing), soft, and fleshy like pure
pearls आनन्देन मन्दे मुकुलिते (closed) घूर्णमाने (rolling) लोचने

164 NOTES ON [VI 4-
दृश्या whose eyes generally unsteady are rendered dull by
joy and are closed. मर्यादितः सन्तापः the heat which I felt but
partially has now disappeared. N reads आनन्दसन्दलितघूर्णमाननेद-
नाया which is difficult to explain. It seems to mean 'whose
pain that made her stagger was destroyed by joy.' Verse 5.
This is repeated from Act II. 19. अविरल-मण्डिते-अविरला
विशाला घूर्णमाना विद्युत्तया तस्या विलामै मण्डिता तैः adorned by the
sportive movements of lightning that is thick, flashing and
rolling. अवसीदते is covered. नमः अनुगमिन प्रयुक्तम् employed,
वरुणं देवता अस्य इति वारुणम्, according to 'साऽस्य देवता' पा 4 2 24.
वरुण is represented as the lord of waters even in the Rigveda.
'यासां राजा वरुणो याति मध्ये ता आपो देवीरिह मामवन्तु ॥' ऋग्वेद VII. 49. 3.
सर्वं दोषाय (supply भवति) everything, when in excess tends
to produce a defect i. e. too much even of a good thing is not
desirable. Compare 'अति सर्वत्र वर्जयेत्,' 'सीते पर्याप्तमेतावद्ब्रूतुं स्नेह-
प्रदर्शनं । सर्वथातिदृढं भद्र व्यसनायोपकल्पते ॥' सुन्दरकाण्ड 24. 21. यत् since,
The following long sentence contains three poetic fancies.
भूतजनं प्रवेपते the mortal world is shivering (on account of the
cold due to the down pour of water). प्रलये वातावति तथा क्षोभ-
तेन गम्भीरं यथा तथा गुञ्जुगुण्ायमानाः मेघाः तैः मेदुर (निबिड) अन्धकार तेन
रुद्धाध्वं यथा तथा नष्टम् इव as if found without any outlet (for
escape) by the darkness that is intensified by the clouds that
produce a deep rumbling noise on account of the agitation
due to the stormy winds at the time of pralaya. गुञ्जुगुण्ायमान्
(pres. p.) is an onomatopoetic word. नीरन्ध्र (निः + रन्ध्र). For the
winds at the time of प्रलय, vide notes on V. 9. एकवारं विश्वस्य ग्रसन-
नेन विकट (विशाल) विकरालं (अतिभयङ्करं) कालस्य (मृत्योः) मुख कन्दर इव
तस्मिन् विवर्त्तमानमिव as if rolling in the cavern like mouth of Death
that is very terrible and wide open for devouring at one time
the whole universe. If Death were to devour the universe
at one stroke he shall have to open his mouth very wide.
Some read ०काण्ठण्ठमुख०, which would mean रुद्धमुख युगान्ते या यो-
गनिद्रा तस्यां निरुद्धानि सर्वद्वाराणि येन स नारायणः तस्य उदरे निरुद्धमिव as if
placed in the belly of नारायण who has closed (stopped the
operation of) all the portals (of his body i. e. his senses) on
account of the yogic slumber that he has at the end of the
cycles of years. युगान्त means कल्पान्त, see notes on V. 14 for कल्प.
When विष्णु sleeps the whole world is destroyed, and when he
wakes up it is created again. Compare 'यदा स देवो जागर्त्ति तदेदं चेष्टते
जगत् । यदा स्वपिति शान्तात्मा तदा सर्वं निमीलति ॥' मनु० I. 52. योगनिद्रा state
of sleep due to yogic contemplation. योग is defined in योगसूत्र

—VI. 5] UTTARARĀMACHARITA. 165
'दोषद्विषदुदिनिरोध' Compare 'अम्बु (अम्बुराशि) युगान्तोचितयोगनिद्र
संहृत्य शेषायुरथोपधिष्ठे ॥' रघु० XIII 6. \ reads भूत विरध-the
world dies. Here भूत is used for the whole class स्थाने it is
proper वायु देवता अस्य इति वायव्यम् according to 'वाय्वृतुपित्रुषसो यत्'
पा 4 2 31. इरन्नू discharged Verse 6 मरुता (वायुना) भूयमानपि
घनानां कापि प्रविलय कृत -the clouds though many have been
dissolved (dispersed) somewhere by the wind, so not a trace
of the clouds is left. विवरूयेन resembling correct knowledge
The affixes कल्प, दश्य and देशीय are added in the sense of a little
less than ईषदसमाप्तौ कल्प वेश्यदेशीयर पा 5 3 67. ब्रह्मत्व विज्ञानान्
as illusory appearances are dis olved in Brahma (by correct
knowledge) For the meaning of विवर्त vide notes p
116 There are two philosophical views one is called विकत
वाद and the other परिणामवाद According to the विवर्त्तवाद,
प्रपञ्च is the विवर्त and ब्रह्म is the अधिष्ठान of it. According to the
परिणामवाद, प्रपञ्च is the परिणाम of ब्रह्म as a golden ornament is a परि
णाम of gold It seems to us that the word विवर्त is used in the
technical sense here and that भवभूति knew the मायावाद, if he
was not an adherent of it According to मायावाद, the world
is an illusion in a transcendental sense and this illusion will
be dispelled by a correct knowledge of the only Reality called
ब्रह्म There are Upanishad passages supporting this theore
'वायुर्यथैको भुवन प्रविष्टो रूप रूप प्रतिरूपो बभूव । एकस्तथा सर्वभूतान्तरात्मा रूप रूप
प्रतिरूपो बहिश्च ॥ कठोपनिषद २ 5 10, 'मृत्यो स मृत्युमाप्नोति य इह नानेव
पश्यति' कठोपनिषद २ 4 10 'यत्र तस्य सर्वमात्मैवाभूत् तत् केन कं पश्येत्' &c
'तद्ब्रह्म वेद ब्रह्मैव भवति' 'ब्रह्मैव सन् ब्रह्माप्येति' The position of शंकराचार्य
is contained in the following passage from his भाष्य on
Vedantasutra II 1 14 'यथा चाकरकदशानां महाकाशादनन्यत्व यथा
च मृत्तूर्णिकोदकादीनामूषरादिभ्योऽनन्यत्वत्, एवमम्य भोक्तृभोग्यत्वादित्रपञ्चस
ब्रह्मव्यतिरेकेणाभाव इति द्रष्टव्यम्' सभ्रमा विक्षिप्त कर तेन अन्तेन उत्तादर
कृतहस्तेन who waved the skirts of his upper garment with his
hand that was raised up hurriedly (to draw the boys attention
to him and to make them desist from fighting) मधुर स्निग्ध च
वचन तेन प्रतिषेध युद्धव्यापार येन who prohibited the war like efforts
(of the boys) by his pleasing and affectionate words. कुमारेणो
अन्तरे between the two boys शम्बूकवधात् after killing Sambuka
This shows that a very short time elapsed between the events
narrated in the second Act and those narrated in the sixth.
—Verse 7 सङ्कदितम् (past pass. p used as a noun, according to
'नपुंसके भावे क्तः' पा 3 3 114) speech, words तस्मिन् (महापुरुषे)
गौरवे (आदर) उत्साव समुन्मदन सन्प्रहार (युद्ध) येन-that stopped

166 NOTES ON [VI 7—
the combat. Some read शब्दं महापुरुषसंविदित—words that were
used (i. e. uttered) by a great personage. निष्कञ्चुकम् —Vide
notes pp. 64 and 123. This विष्कम्भक is an inferior one.
It is marred by bombastic words. It is put in for describing
the fight between लव and चन्द्रकेतु. Verse 8. दिनकरकुलचन्द्र—
there is a picturesque effect produced by calling चन्द्रकेतु the
moon of the sun's family. चन्द्र indicates the power to
gladden and soothe. सरभसम् quickly. 'रभसो वेग हर्षयोः'
इति विश्वः. तुहिन शीतले cool like a piece of snow. ममापि—
अपि is emphatic. Though I am tormented very much the
touch of your body will soothe me. In the first line the figure
is लाटानुप्रास which occurs when the same word is repeated in a
sentence in the same sense but in a different connection.
उद्भट defines and exemplifies it: 'स्वरूपार्थविशेषेऽपि पुनरुक्ति
फलावहात् । शब्दानां वा पदानां वा लाटानुप्रास इष्यते ॥ स्मितेऽङ्कुरितमन्दा-
क्षमन्दस्वानवदस्पदम् । पदं पदमशाम्बय्याः शुचुरप्यारमारमा ॥' उद्भट I. 13 and 14.
उत्थाप्य having raised him up (from his posture of lying
prostrate at his feet). दिष्ट्याऽद्य परार्द्धं यस्य कुशलं लाभाभ्युदयेन—
I am all right having the good fortune to secure (लव as a
friend). लाभ एव अभ्युदयः तेन. अलङ्घना क्रिया यस्य whose deeds are
wonderful. मामिव पश्यत्वमुं तात may my father look upon him
with the same affectionate eye as at me or perhaps more
(affectionately) than at myself. अनार्यम् अकुटिलं साहसं यस्य—
whose heroism is straightforward (does not partake of
trickery). Some read महावीरप्रकाण्डम्—this pre-eminently great
warrior. प्रकाण्ड—खण्डम्—the trunk of a tree, but at the end of
compounds it is employed to show 'pre-eminence' प्रशस्तः
महावीरः महावीरप्रकाण्डम्. 'मचर्चिका मतल्लिका प्रकाण्डमुद्धतल्लजौ । प्रशस्त-
वाचकान्यमूनि' इत्यमरः. दिष्ट्या fortunately. अतिगम्भीरा मधुरा कल्याणी
च आकृतिः यस्य whose form is very serene, lovely and auspicious.
Verse 9. This verse contains five उत्प्रेक्षाs. क्षात्रो वेदः he (लव)
is as if the sacred lore of missiles manifesting itself in a body
for protecting the worlds. क्षात्रो गुणो he is as if the duty of
the क्षत्रिय class assuming a body for guarding the treasure of
the Vedas. ब्रह्मकोश. ब्रह्मन् may mean either 'Veda' or
'Brahmanas'. 'वेदस्तत्त्वं तपो ब्रह्म ब्रह्मा विप्रः प्रजापतिः' इत्यमरः. The
performance of religious duties enjoined by the Vedas required
to be guarded against evil-doers. This was the duty of the
क्षत्रियs. Similarly the protection of the subjects (and pre-
eminently of Brahmanas who were included in them) was also
the duty of the क्षत्रियs. Note 'संग्रामेष्वनिवर्त्तित्वं प्रजानां चैव पालनम्.

—VI. 9] UTTARARĀMACHARITA. 167
—पुण्यानां ब्राह्मणानां च राशी भेदरूपः परम्॥ ननु VII 8 We may
either take the third line by itself or understand तनु निव-
after समुदय and समग्र. समुदय collection जगत् पुण्डरीकाक्षां
(पुण्यकानि) तेषां राशि—निर्माीयते इति निर्माणं कर्म आविर्भूत राशि he
is as if the aggregate of the holy actions of the worlds
manifesting themselves and standing (before us in bodily
presence) Another explanation given by the commentator
on the महावीर० is पुण्येर्निमीयन्ते इति पुण्यनिर्माणानि पुण्यप्रदानार्थं
कृताङ्गो बहुव्रीहिः' इति कर्मणि णिच् ल्युट्। 'भीमसेना राज्याय' इतिवज्जा पुण्यनिर्मा-
ननि वाऽपुण्यनिर्माणानि तेषां राशिरेव This verse occurs in महावीर-
II. 41 पुण्ये अनुभावदर्शने (अनुभाव दर्शनं च) यस्य—whose majesty
and sight are purifying
P 127 Verse 10 अभयम् assurance of safety भक्तिः
devotion. आयतन support, abode. The meaning is—राम is
a person on whom all rely for safety whom all love and
adore The reading धर्मस्य इव सञ्चारः is difficult to explain.
प्रकृष्ट सुन्दर he is as if the favour lovely in form of pre-eminent
righteousness. भूया सुन्दर The meaning of the second half
is—Pre-eminent धर्म as if favoured them who followed it
and assumed the form of राम for the purpose of showing
its favour to those who had adhered to it and that राम
is handsome in form. Or we may take प्रसाद in the sense
of 'purity, serenity' The meaning is:—राम has followed the
path of pre-eminent righteousness. He is as if the purity or
serenity produced by the performance of righteous deeds
There is another reading मूर्त्तिसञ्चारः (मूर्ती सञ्चार यस्य) which
means 'walking about in an embodied form.' This is not
bad. Compare the words used about विश्वामित्र in the महावीर०
I 10 'कुरालो देष मेध्याभिरागश्च यक्ष्मोऽपि वा। अथवा बहुना दीर्घ धन्वी वा
मूर्त्तिसञ्चारः॥' Verse 11 We must understand the words
दृष्टिसन्निहृष्टे in each of the clauses. विरोधो गतः my hostility
is put to rest and a feeling deeply full of bliss spreads over
me. निभृत सुखेन घनं निरन्तरं पूर्णम् अहम् (अहङ्कारस्य भावः) insolence.
प्रह्वयति (प्रह्वं नम्रं करोति)—denominative verb from प्रह्व दर्पं
दलयति why possibly am I overcome quickly on seeing him ?
यद्वा वा or महदार्यं गुरु there is some indescribable greatness
among the great of great value as there is in holy places.
महान् अस्य मूल्यं यस्य The दशरूपक (I. 46) cites this verse as an
example of धृति. अयम् refers to राम. सहसा एव all of a sudden,
at first sight. दुःख हरति causes my sorrow to cease. वर...

168 \t NOTES ON \t [VI 11—
ऽमानन् and makes my soul full of affection on account of
reason (that I do not know) उपस्नेहयति is a denominative
verb अथवा स्नेहन् or to say that it is affection and yet
dependent upon some (assignable external) reason is con-
tradictory (is a contradiction in terms) व्यपेक्षया सह सम्पृक्ष्य,
विनिश्चम्य सापेक्षा सापेक्ष निमित्त is either बाह्य or आन्तर Here it is
बाह्यनिमित्त that is meant राम said that there must be some
(external) reason why लव should make his heart full of
affection, but then he corrects himself. Real affection must
always be disinterested, if it springs out of some external
palpable motive, it cannot be called real affection, for, as soon
as the outward conditions disappear, the so called affection
may in that case vanish Hence real affection must spring
in some unknown and inexplicable way This very propo-
sition is put forward in other words in the next verse and
illustrated. This sentence occurs in the मालतीमाधव and is there
also followed by the same verse There जगद्धर remarks
ऽशक्त्वमौपाधिकस्त्व चेत्येकधर्मद्वयमेकत्र धर्मिणि विरुद्धमित्यर्थः' Verse 12
दति हेतुः some internal and unknown cause links things to-
gether व्यतिषजति—present of सञ् I P with वि and अति
नान्तर गृहं कार्यकारणमभिधाय कोपीदृशत्या निरूपयितुमशक्य 'विकुरारि न
संश्रयन्ते affections do not really depend (or rest) on outward
conditions The following lines contain two particular
examples of the general proposition पतङ्गस्य = सूर्यस्य हिम(रश्मी)
चन्द्र उद्गते उदिते सति This verse occurs in the मालतीमाधव (I 27),
where जगद्धर comments 'तथा च तीक्ष्णतरोचिषे योनेरुन्मदलविकासात्
जगन्तररोदये पाशणडारणाच्च सहजसिद्ध एव हेतु । इह किं बाह्य कारणं दृश्यते ।
तदयदृतेऽपि स्वाभाविक एव सइ इति भाव ।' The figure here is
ऽर्थान्तरन्यास ममापि तथैव then he is to me the same (as a
father) in duty Since चन्द्रकेतु called लव his friend, लव says
he must honour राम just as his friend honours him. चत्वार
भागिन there are four who are entitled to be so designated by
you भवताम् is addressed to चन्द्रकेतु out of respect एवम्व्यपदेशस्य
ऽतात्प्रादा इति शब्दस्य भाग असि येषाम् इति० भागिन व मद्धि therefore
tell me the particular designation व्यवेहि understand उत्फुल्ल
expanding joy दिष्ट्या दृष्ट fortunately this was an auspicious
day that dawned upon me in that I saw this king अपरिदृढं
not loosely, closely Verse 13 परिणत कठोरस्य पुष्करस्य (पद्मस्य )
गर्भच्छद ( आभ्यन्तरच्छद ) तद्वत् पीन (स्थूल ) मसृण सुकुमारस्य delicate, soft
and fleshy like the inner and full grown leaf of a fully ex-
panded lotus चन्द्र रस as cool as the moon and sandal juice.

—VI 13] UTTARARĀMACHARITA. 169
०कर्मणा—refers to राम. अहेतुकस्नेह causeless (disinterested)
affection. मया मूढेन but I, a fool, took up weapons to do harm
to him (राम). तस्मै द्रोग्धुम्—the dative is used according to
‘क्रुधद्रुहेर्ष्यासूयार्थानां यं प्रति कोपः’ पा I. 4 37 The reading ‘इयं
क्वचित्पाठस्त्वयं यदनादरेणाहं यविष्ठत्वादस्तो दुर्योगः’ means ‘I being a
fool became hostile to him so that my hostile conduct went so
far as to take up weapons against him This reading is not
good The meaning of दुर्योग is not quite clear. Moreover
तस्मै अभिद्रुह्यन् is incorrect. क्रुध् and द्रुह् when preceded by a
preposition govern the accusative and not the dative.
क्रुधद्रुहोरुपसृष्टयोः कर्म पा I 4 38 क्षमस्व forgive बालिशता foolishness
P 129 आविष्करणं making manifest i. e. proclamation
वीरचरितम्—वीरवत् आचरितम्—past pass. p. of वीरायते. Verse 14 स ..
कृतक that is his peculiar character, which is not assumed (i. e.
is innate) as it is necessitated by his very nature प्रकृत्या
नियतत्वात् नियतं settled or fixed, न कृतकं अकृतकम् The idea is
that bravery is innate while insolence can very well be assum-
ed. अकाण्डम् adv. incessantly. किन्त्वा वमति why does the fire
stone give out (lit. vomit) heat as if it were insulted? This
is a fine and appropriate illustration. As the fierce lustre of
the sunstone is really derived from the sun, so the valour of
Lava is but derived from his father Rama This is what is
suggested by the poet. जाज्वल्यमा० = अत्युत्कटस्फुलिङ्गमर्चिषा
The figure in this verse is अर्थान्तरन्यास. Compare भर्तृहरि ‘यदेतेन
नेऽपि पादैः स्पृष्टः प्रज्वलति सवितुरिनकान्तः । तद्वन्तो पुरुषः परकृतविकृतौ कथं
सहते ॥’, ‘तेजोमयः परं पदोपारोपणया प्रव्यथते स्पृष्टोऽपि हि रवौ स एव स
महीयसः सहते नान्यसमुन्नतिं यदा ॥’ किरातार्जुनीय II. 21 अमर्ष non-
endurance i. e. jealousy. विदधत्पवन नियुक्त (employed) जृम्भणास्त्र-
देन निष्कम्प यथा तथा स्तम्भितानि—that were paralysed by the जृम्भक
missile so as to be motionless &c. संह्रियन्ताम् let it be with-
drawn. निस्पन्दानि च तानि मन्द्व विजिह्मीनि that cannot exert
themselves and hence are dismayed (or ashamed). ‘शिष्यो
विस्मापयिष्ये’ इत्यत्र सम्भवं वदति—This is a fine device used by
the poet to send away चन्द्रकेतु and leave राम and लव alone.
प्रणिधान concentration. नाटयति represents on the stage. रहस्यानु-
गतं रहस्यमयी प्रयोगोपसंहारी यैस्तान्—the discharge and withdrawal of
which are accompanied (i. e are effected) by charms
– साम्प्रदाय० have a tradition i. e. are handed down from teacher
to pupil. Verse 15 This occurs in the first Act. Vide notes
p 18. न्येशा (अभ्यास) तथा तेषां परायणं (complete study) न्याय
15

170 NOTES ON [ VI—15
उपनिषद् (रहस्य) ताम्—the secret of the thorough understanding
of the mantras relating to these (weapons) सहस्रात् परा वर्ष
सहस्रा सवत्सरा तान् अन्तेवासी तस्मै to him who was his pupil for more
than a thousand years गुरु क्रम this is the successive order of
teachers in former times When we take the reading of N
given in the footnote the word अधिक seems superfluous परिचर्या
सेवा तस्यां निरत (devoted) कुत from what teacher? स्वत प्रकाशानि
they manifested themselves प्रकृष्ट पुण्य तस्य परिपाके उपादान (कारण)
यस्य—the cause of which is the ripening of a great degree of
holy merit. Compare ‘पुण्यप्रसादोपादान एवैष महिमा’ (text p 43)
देववचन—this refers to the word आद्यो in Lava's speech दाण्डायन-
the same pupil of वाल्मीकि who appears in the विष्कम्भक to the
4th Act He seems to have been the chief among the pupils
of वाल्मीकि Verse 16 नरेन्द्र refers to राम विभाथ सवेति—
do you say that it is so? We are to suppose that the person
addressed is behind the scenes अधिराजशब्द the title of
sovereign lord शस्त्राणि एव शिखिन अग्रय He means that he
is powerful enough to vanquish even the mightiest sovereign
in the world Verse 17 इन्द्रमणिवत् मेचकः नीला छवि यस्य
यस्य—whose complexion is dark blue like that of sapphire यद्धा
युक्ता यस्मिन् नव नील नीरधर मेघ तस्य धीर गर्जित तस्य क्षणे बद्धा कुङ्मला
यस्मिन् स व्यकुङ्मल कदम्ब तस्य इव डम्बर (शोभा) यस्य—that (I)
resemble the Kadamba tree that puts forth buds the moment
there is the deep thunder of a fresh blue cloud The रोमाञ्च is
compared to the buds of the कदम्ब tree For the budding of
the कदम्ब tree, see Act III 42 and notes thereon We may
also take क्षण in the sense of festival and dissolve इन्द्रणिममेव क्षण
तेन बद्धा But this is not so good as the first explanation. This
verse is a fine example of भवभूति's skill in making the sound
seem to be an echo to the sense भरताग्रजात्—see text p 109
P 131 साह्लाद रहस्यन् twanging his bow with a meaning
look, with joy and courage. Verse 18 The principal sentence is
यदि आदितैर्नृपखिभि विमद (स्यात्) तत एतत् मम धनु धरुम्—If I can fight
दक्षिणे,
मा दक्षा
the son of
Vivasvat (the sun) gave the boon of safety to Indra. अभयमेव
दक्षिणा अभयदक्षिणा, इन्द्रस्य अभयदक्षिणा यद्धा दक्षिणा, दत्ता दक्षिणिना ये आ
सातो —आ (meaning 'up to') is a कर्मप्रवचनीय in the sense of मर्यादा
and अभिविधि and governs a noun in the ablative 'आङ् मर्यादाव-
चने पा 1 4 89 (आङ् मर्यादायामुक्तार्थे स्यात् । वचनेनग्रहणादभिविधोरपि । त्रि

-VI 18] UTTARARAMACHARITA 171
'र्थे । विना तेनेति मर्यादा । सह तेनेति अभिविधि । तत्वबोधिनौ ।) and 'पञ्चम्यपा-
ङ्परिभिः' पा २ ३ 10 (एतैः कर्मप्रवचनीययोगे पञ्चमी स्यात् । आ मुक्तेः संसारः ।
सि कौं ) वैवस्वतमनु- Vide notes p 81 Ancient legends narrate
that the kings of the solar race such as दशरथ helped Indra
against demons. मन्थरा says to कैकेयी 'पुरा देवासुरे युद्धे सह राजर्षिभिः
पतिः । अगच्छत्त्वामुपादाय देवराजस्य साह्यकृत् ॥' अयोध्याकाण्ड ९ 11 आदित्य -
अदितेः अपत्यं आदित्य ( अदिति + affix ण्य) according to 'दित्यदित्यादित्य-
पत्युत्तरपदान्ण्यः' पा ४ 1 85 दापितः तेजः क्षत्रप्रतापः एव अग्निः यैः -who set
the fire of their martial valour ablaze. दप्ताः ज्व (adj. of धनुः )-
दीप्तानां अस्त्राणां स्फुरन्त्यः तप्ताः दीप्तयः तासां शिखाभिः (अग्रैः) नीराजिता ज्या
यस्य-the string of which has the end of the flames of the
flashing and hot rays of the glowing missiles waved round it.
नीराजित (Mark the Marathi नीराजन )-past pass. p. of राज्
causal with निर्-to perform the ceremony called नीराजन to
illuminate नीराजनम् waving lights before an idol as an act of
adoration, also a kind of religious ceremony performed by
kings or generals in the month of आश्विन before taking the
field. क्षीरस्वामी derives नीराजन as 'नीरस्य शान्त्युदकस्याञ्जनं क्षेत्रोन्नमार-
जनं, मधोस्तथा वाजिनायुधादेर्निःशेषेण राजनं वात्र' It will be noticed that
G takes तत् to mean विस्तृत. तत् must then be connected with
विष्फार, which is bad as the words भव्य मवेतनू intervene which
are to be construed with धनुः विकत्थन्ते proudly Verse 19
गृहीत तृणवत्सारम् येन-which looks with contempt (lit
treats as grass) upon the essence of the power of the three
worlds धीरोद्धतैरीदृग् his gait which is firm and proud as it
were bends the earth धीरा वानी उद्धता च गुर्वा weight This
is quoted in दशरूपक (II. 11) under विलास यत्किञ्चिदेतत्-it is
insignificant. स्निग्धव्यापारे -Verbs having the sense of 'affection',
'hatred' govern the locative of the person to whom the feeling
is shown उत्कण्ठते हृदया is eager for your presence उत्कण्ठ्
is a denominative verb from उत्कण्ठ and governs the dative or
genitive of the object desired. सन्निकर्ष contact गोप्तादितः
protector आकाङ्क्षणीय पुण्य दर्शन यस्य whose holy sight is to be
wished for उपगन्तव्य is to be approached. संप्रधारयामि I do not
understand. गुरुः elderly person. उपरुन्धेन-उपरुन्धेन सख्येन
नियुङ्क्ते treats me as a friend (lit approches or honours me with
friendship). For the आत्मनेपद, vide notes p. 8 तेन राजर्षि
therefore, on account of that relation (of mine) to him (i.e.
चन्द्रकेतु), this royal sage is a father (to us) in duty (by courtesy)
राम, being as a father to चन्द्रकेतु who looks upon लव as
his friend, is like a father to both गुरु and लव The

172 NOTES ON [ VI 19-
spectators must have been very much amused by this speech,
for लव looks upon राम as his धर्मतात when he was really his तात.
संग प्रश्रय humility though towards a क्षत्रिय, is not in this
case censurable To bow down before a क्षत्रिय was to acknow-
ledge his superiority in arms This कुश could not bring
himself to do But to respect him as a father did not cast
any slur upon his martial spirit आकार अनुभाव गाम्भीर्य च तैः
सम्भावितानां विविधानां लोकोत्तराणां सुचरितानां अतिशयः यस्य—the excess
of whose various extraordinary deeds was to be gathered from
his form, majesty and serenity Verse 20 प्रासादिकं रूपम्—a
form full of serenity. स्थाने वृतन् It is but proper that the poet
of the Râmâyana transformed the goddess of speech (as a poem
with reference to राम) व्यवीवृतत् causal aorist of वृत् with वि
This is the best reading The word विवर्त is derived from वृत्
with वि and we have seen that the poet calls रामायण the विवर्त of
शब्दब्रह्म (text p 36) A reads अवीवृधत् (causal Aorist of वृध्)
which means increased The reading अवीवृतत् (though from
the root वृत्) would mean 'brought into existence,' which is
bad here
P 133 Verse 21 अमृतेन (जलेन) आध्मात जीमूत (मेघ)
तद्वत् स्निग्धं संहननं (वपुः) यस्य—whose body is glossy like the cloud
full of water 'अम्बु च घनामृते' इत्यमरः 'गात्रं वपुः संहननम्' इत्यमरः
The reading प्रसिद्धसंहननस्य is not bad. It means 'having a body
like that of the lion 'वराङ्गरूपोपेतो यः सिंहसंहननो हि सः' इत्यमरः
परिष्वङ्गाय उत्कण्ठते—vide notes above on उत्कण्ठते अय जन this
person: e. I. The first half occurs in महावीर० II 46 किम
दारक is this boy my child? Verse 22 This verse
constitutes the reason why Râma asks 'किमप्ययमय दारक '
The principal sentence is in the fourth line यद् धेये अमृतमयी
लता सिञ्चतीव since he bathes my limbs at (the time of) embrace
with a stream of nectareous juice अङ्गात् देहसारः he is as if
the very essence of my body due to my affection, flowing
from each limb It would be better to read निजः सङ्गजः A reads
'निजो देहतः स्नेहसारः' which means 'the essence of my affection
produced from the body' This is not good The words अङ्गात्
देहाद् सून show that we require देहसारः and not स्नेहसारः Com-
pare the Rik verse 'अङ्गादङ्गात्सम्भवसि हृदयादधिजायसे। आत्मा वै पुत्रना-
मासि स जीव शरदः शतम् ॥ quoted in the निरुक्त (chap III)
चेतनाधातुरेक the one ingredient (of me) e: consciousness
(of life) He means—I am compact of various elements He
is as if my soul itself that has gone out of me and stands

outside, the other elements such as the blood and bones rem-
aining within me The reading ध्यातुःरेव is not bad It
virtually comes to the same thing सान्द्र (घन) आनन्द ऽनेन क्षुभित
हृदय तस्य प्रस्रवेण इव स्रुत as if sprung from the exudation of my
heart that is agitated by intense delight V reads गाढरेव
&c as in the footnote which means 'he whom I embrace
closely, indicates to me that I am as if sprinkled over with dew
(or snow) गाढ मालेप दस्य ऽनन्यव beats hot on the brow
(forehead) दृग्भ्यां पश्यतीति (उपपद समास) according to 'अमूकूल
भाष्योन्मिथिषो' पा ३ २ ३७ (अमूला-या राजदारा । दृग्दृशौ वृत्त । सि कौ)
and a nasal is inserted after दृग् in accordance with 'अरुर्द्विषद
जनस्य मुम्' पा ३ ७ (अग्भो द्विष्टो-जनस्य च मुमागम स्यात्खिदन्त परे ।
सि कौ ) वृक्षस्य छाया वृक्षाछदम्-छाया becomes छाद as the last
member of a तत्पुरुष when thick shade is intended 'छाया बाहुल्ये'
पा २ ४ २२ (छायान्तस्तत्पुरुषो नपुंसक स्याद्वहुत्वप्रतिपादकबाहुल्ये) Verse 23
प्रश्रयोयोगेऽपि although there is modesty in them स्थिति standing,
posture साम्राज्यमुन्नति सूचयन्ति इति that indicate universal
sovereignty (in future) चेष्टा =क्रिया actions, movements राम
first felt ecstatic at the sight of लव and कुश and now he notices
characteristics of sovereignty about them. Later on he observes
several other marks that lead him to suspect that they were
his sons the last and most decisive being the possession of
जृम्भकास्त्र 'भावः सत्तास्वभावाभिप्रायचेष्टान्मजन्मसु' इत्यमर
P. 134 Verse 24 वपुषा सहोत्पन्ना ये निष्ठाश्च कान्त्या कान्त्याभिनि
प्रत्येकम्, कमनीया मनोहराम् वपु इन्धन्ति the graces of their beauty,
which are inseparable from their body and innate, present
(or unfold) a complexion that is charming in each part (or at
each moment) वीरो take वपु as an object of उद्दयन्ति This
makes the construction more difficult as there is another object
कान्तिम् Some read ऽअकृत्रिमेति which means 'not made (i e.
not artificial) and natural प्रति नीदन् ade in such a way as
to be charming in each part The reading of V 'प्रतिदन्त' is
probably a mere guess. If we read कान्तिमिन्धन्ति, we must
take वपु as the object of इन्धन्ति and कान्तिम् as qualifying वपु
इन्धन्ति-Indicate or adorn अमलिन मकरन्द just as the rays
of the moon unfold the spotless moon or as the drops of honey
the fully expanded lotus Connect दृष्टान्त with the following
line मरकतस्य इमे भासराः Most editions read रत्न रत्नदमने
मनोज्ञा-just as those charming rays unfold the jewel This
is not so good as the text. शादा-कर्दम Verse 25 कठोर (full

174 NOTES ON [ VI. 25—
grown) पाण्डवतः तस्याः कण्ठः वडन् मेचकं नीलं (only of वपुः ). Supply
अस्ति after वपुः वृषस्य स्कन्ध इव सुबन्धुरौ अंसौ यस्य—the shoulders of
which are well-developed like the neck of a bull. ‘वन्धुरं तून्नतानतम्’
इत्यमरः बन्धुर adj. what is muscular or well developed. Compare
‘व्यूढोरस्को वृषस्कन्धः शालप्रांशुर्महाभुजः’ रघु० I. क may optionally be
added to almost all बहुव्रीहि compounds, N reads वपुः—रासयोः,
which must be taken with अनयोः above. Some read वपुर्वैरागन्ध्य-
नवन्धुरामरम्, which involves tautology प्रमत्त...वीक्षितम् their look
is as steady as that of a pleased lion. मङ्गले साधु मङ्गल्यं गूढह्रः
गम्भीरः सागरः (deep) न धृति not only does their form resemble
mine (but also that of सीता) Verse 26 तत्तद्रूपम् those
various points of resemblance सदृशरूप adj. similar, n. resem-
blance निपुणेन उन्नेयम् to be inferred by cleverness निपुणस्य भावः
नैपुण्यम् ननु indeed पुरोवि—he says so because he had abandoned
सीता twelve years before and because he supposed her to be
dead गोचरीभूतमक्ष्णो has come within the range of my eyes
This is the predicate of आस्यम्. अभिनवं शारदं (कमलम्) तद्वत् श्रीर्यत्
(शोभावत्)—this qualifies आस्यम् ‘सहस्रपत्रं कमलं शतपत्रं कुशेशयम्’
इत्यमरः Verse 27. Separate सुन्दरा इव (ओष्ठमुद्रा) शुद्धाः (white)
अच्छाः (clear) दन्ताः येषां छविः (कान्तिः) तया सुन्दरा ओष्ठमुद्रा the shape
(lit. cover, seal) of the lips. स पाशः (they have) the same
fascinating ears (as those of सीता) पाश at the end of compounds
expresses 'beauty' or 'collection', कर्णपाशः, केशपाशः, प्रशस्तः कर्णः
कर्णपाशः नेत्रे रक्तनीले although their eyes are red and blue
(while those of सीता were not so). Being warriors their eyes
were red. वीर० explains 'अनयोः रक्ते सीतायाः नीले एव'. But this does
not seem right. As in the case of the other adjectives रक्तनीले
must refer to the boys only. सीता इव still the beauty is the
same (as that of the eyes of सीता) द्वात्रिंशतेन अनुषूपित (inhabited)
वयः age (i.e. 12 years) यदपि शृणोमि as to the fact that the
missiles have manifested themselves to them, I ponder over it (I
cannot explain it) अपि स्यात् Is it possible that the permission
(to pass to the offspring) which I gave to the missiles at the
time of viewing the picture has taken effect (lit. has mani-
fested itself)? See for this incident text p. 12. प्रमहे मय प्रागधि-
गतं अथाध्यापितानि passing without instruction (from a teacher)
अर्थः संशय्यते—this sentence is variously read The reading
adopted in the text is the best. अथ—दृम्भयते this excess of the
happiness of my heart gives assurance to my soul that is float-
ing (upon doubts). विशम्भयते makes one confident He
means—my soul is puzzled as to whether these boys are my

-VI. 27 ] UTTARARĀMACHARITA. 175
॰स्तन But one fact is quite clear. In their presence my heart
feels blessed, and that assures me that they must be my sons.
The reading of B hardly yields any sense. विस्मये विप्लवमानं
प्रादुष्करोति अतिशयं यस्य that has an excess of pleasure and grief
floating on (i.e. mixed with) wonder. विप्लवम् delusion.
This seems unconnected with what follows. यद्वा यत् that
they are twins very greatly coincides with (what was felt by)
myself. समतासादं (agreeing with, coincidence). भूयिष्ठ -
मासीत् I very often felt that the foetus of the queen (माता) was
made up of two parts. G seems to have read with B जलबिन्दु-
विद्धो हि देव्या &c. साश्रम् with tears. Verse 28. पुरा - for-
merly when affection (between us) had taken deep root and
had grown with the growth of our familiarity. रसो दृष्टः -
connect this with गभीरस्य - of her who, though in a confiden-
tial mood being in privacy, had eyes dull (i.e. half-closed)
owing to natural bashfulness. मुग्धा लज्जा तया जड़ा दृक् यस्याः सा
दृष्टा तस्याः. करतलेन परामर्शः तमभ्यस्य (विद्यया, चातुर्येण) by my skill
in feeling with the palm of my hand. तदनु - after that. दिनेषु
तया by her (it was known) after some days. Verse 29.
Construe अम्भःकणैः व आमन्दं ॰सिक्तस्य पुष्पधन्वः चण्डः ददातु बाष्पबाणैः नक्तम्
अवश्यायेन अवसिक्तस्य sprinkled with dew. 'अवश्यायस्तु नीहारस्तुषारं
तुहिनं हिमम्' इत्यमरः. Verse 30. किमिह परं what possibly is not
painful to the lord of Raghu's race? This means that everything
is painful. This shows that the boys had been kept in the
dark as to their relationship with राम and सीता. The whole
mystery is unravelled in the seventh Act. तादृक् of that sort,
i.e. so great. अनपेक्षस्वभावतया तेन तस्य व्यापारः their talk is
indifferent i.e. they speak of सीतादेवी and do not call her their
mother. मुग्ध foolish. हो विकारः what means this thy sudden
and excited feeling? परितुरः = चतुरः. B reads समुन्नह्यद्
which वीर० explains as 'उन्नामयन्तीव दुर्निवारमनोरथानाम्'. नितान्तं
हृदयस्य आवेगं दत्त्वा the excitement of whose heart has broken out,
i.e. has manifested itself. भवतु ॰यामि well, I shall change
the topic. सन्तानयति is a denominative verb from स-
न्तानयति वाङ्मयं the flow (out-pouring) of the genius of Vālmīki,
which is a pageant of the solar race. यत् यत् he turned round
i.e. studied. मुनिनोपदिष्टं that strike my memory that I
remember just now. It is to be noted that मुनि does not say
वाल्मीकिना but simply बहुना॰. वर्मी is vocative. Verse 31. 32.
For चिराय &c. N reads पुरोदृष्टस्तारुण्यं प्रथममुदयद्द्रव्य ... रूपे the
qualities of her form (i.e. external charms). दृप्तं वराङ्गम् beau-