उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

-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-

176 NOTES [VI 32-
their hearts alone knew their mutual affection. These verses do
not occur in the extant edition of the Râmâyana exactly as
they are given here. Probably भवभूति did not mean to quote
the very words but only the substance. In the बालकाण्ड we find
the following ‘प्रिया तु सीता रामस्य दाराः पितृकृता इति । गुणाद्रूपगुणाच्चापि
प्रीतिर्भूयोऽभिवर्धते ॥ तस्याश्च भर्ता द्विगुणं हृदये परिवर्तते । अन्तर्गतमपि व्यक्तमाख्याति
हृदयं हृदा ॥’ बालकाण्ड chap 77. 26. 27. हृदयमर्मणि उद्घात प्रहार. निरन्वय
(नास्ति अन्वय यस्मात्) विपर्यास तेन विरसा इति येषाम्—that are
painful (lit. tasteless) on account of sudden changes
(reverses). निरन्वय lit. unconnected, i. e. sudden. विप्रलम्भे
(वियोगे) व्यवस्यन्ति इति व्यवसायिन that end in separation. तापयन्ति
वृत्तान्ता worldly affairs torment (a person). He means
that in the world all goes on well for a time, then there is a
sudden reverse of fortune and separation from beloved persons
follows. This causes great torment. The idea is similar to
the one contained in Act IV. verse 15. The reading of N. is
not easy to explain. तावका refers to सीता. निरन्वयविपर्यासेन
विप्रलम्भे स्मृतौ च व्यवस्यन्ति इति—that end in separation and
remembrance on account of sudden reverses. Sudden reverses
of fate leave us nothing but the memory of that happiness
which we once enjoyed.
P. 138. Verse 33. नास्ति अतिशयः यस्य सः निरतिशयः विश्रम्भः
तेन बहुल abounding in excessive confidence. Supply क्व गताः after
आनन्दः i. e. गहनाः कौतुकरसाः where are those intense admiration
and delight? We may also explain रमः as longing. स्फुरति
हृदयम्—the idea is the same as that in ‘अनेन सुहृद्दुःखदो’ तथाप्ये
रमते still this life throbs and the wretched one does not perish.
Verse 34. प्रिया व्यथम् I have been put in mind of that very
time which is painful to remember and which is capable of
simultaneously bringing before me thousands of the qualities
of my beloved. राम means that he is made to remember the
happy days passed in the company of सीता who possessed
numerous good qualities. ‘दक्षे तु चतुरपेशलपटवः’ इत्यमरः. पेशल also
means ‘soft, delicate’. Some read क्रमोन्मीलन० which is not good.
It is better to say that all the qualities of सीता crowd them-
selves in Râma’s memory and make his loss appear the
heavier. The reading दुरसहः is bad. Those happy days are
not unbearable, but it is the remembrance that is unbearable.
Verse 35. यदा and यत्र are to be connected with the word
काल in the preceding verse. Construe यदा यद्विधैः अहोभिः

---VI 35] UTTARARĀMACHARITA. 177
... चित्रकविकुत्वरदं शृङ्गारश तत् स्तनमुकुल इवविकारे आनीइ कृत पदं येन-
that had established themselves i e made their appearance
स्तन मुकुल इव वयः स्नेह आकृत च तेषा व्यतिकर तेन घन प्रच्छन्न व्यापार
मुग्ध वयः--वपुषि at which time love, being intense on account of
the combination (व्यतिकर) of youth, affection and emotion
displayed itself boldly in the mind, but was mild in its
operation on the body The idea is —at that time the minds
of both of us were full of the ardent passion of youth, but on
account of the restraint expected from young persons, outwardly
we showed very few signs of the inner passion raging in us.
मद विहारे at the time of sporting in the river मन्दाकिनी in the
forest of चित्रकूट As to the location of चित्रकूट, vide notes p 26
As चित्रकूट was about ten krosas from प्रयाग, मन्दाकिनी does not
seem to be the Ganges, but some small river near चित्रकूट
'अथ शैलानिष्क्रम्य मैथिलीं कोशलेश्वरः । अदर्शयच्छुभजला रम्यां मन्दाकिनीं
नदीम् ॥' अयोध्याकाण्ड 9*, 1 Further on मन्दाकिनी is called
गिरिनिम्नगा 'तां तदा दर्शयित्वा तु मैथिली गिरिनिम्नगाम् । निषसाद गिरिप्रस्थे
सीतां मांसेन छन्दयन् ॥' अयोध्या 96 1 Verse 36 विटस्त placed
शिलापट्ट slab of stone यस्य अमिन round about which. We
expect rather यमभितः according to the वार्तिक 'अभितः-
परितःसमयानिकषाहाप्रतियोगेऽपि' on पा 1 4 48 केसर-वकुलवृक्ष A
reads आयत for ससत which means 'long' This verse does
not occur in the अयोध्याकाण्ड, where Rāma's stay on the चित्रकूट
is described वीर० says 'अय श्लोको रामायणपुस्तके नप्रक्षिप्त इति वदन्ति'
मुग्धा कराभू-see com. for the propriety of the words used
here अत्रि चर boys are very simple and especially those
that dwell in a forest. स्मरसि प्रदेशस्य-the genitive is used
according to 'अधीगर्थदयेशा कर्मणि' पा II 3 52-verbs meaning
'to remember' and the verbs दय् and ईश् govern the genitive
of the object. वास्त क्षिन that witnessed the excess of our
confidences at that time Verse 37 The principal sentence
is (तव) मुख (मया) उत्प्रेक्ष्यते I now call up before my mind your
face मना भवत् (separate word)-this is an adj of मुखम्-
becoming cool in consequence of perspiration वीर० explains
'सुरतकान्तस्वेदसलीलेन शीतलीभवत्' प्रचल मन्द मन्दाकिनीमरुद् तेन चरित
अलक चूर्णकुन्तल तै आकुल ललाटचन्द्रं (लता चद्र इव) युति यस्मिन्-
adj of (मुखम्)—the beauty of the moon like forehead of
which was somewhat disturbed by the hair put in motion
by the gentle breezes wafted from the Mandakini. मन्दाकिनी
is the river mentioned above. कुङ्कुमेन (saffron) कङ्कटीनो (कङ्क
समान मनदो), न ष्कलङ्किनी अनुङ्कुमरङ्गिङ्गतो अत एव कञ्चनो कपोलो यस्य

178 NOTES ON [ VI 37-
(adj of मुखम्) कलङ्कित smeared Being in a forest, she had
no saffron to apply to her cheeks, which therefore shone with
their natural brilliance निराभरणाच्चासो सुन्दरश्च अवयवास्त येन मुखम्
निराभरण-without ornaments (as she had come to a forest)
P 140 स्तम्भित paralysed Verse 38 चिर जन It is not
that a beloved person does not give comfort even in travel,
(the beloved person) being as if created and placed in front
by one's long brooding over him The idea is -when a man
goes far away from those that are dearest to him he constantly
thinks of them and thus those persons though really absent,
are as if ever present about him. But this is not the case
when they are snatched away by death Then the whole
world becomes a void न खलु न करोति-this means करोत्येव
For the two negatives, vide notes p 102 वल्लभस्य भावाया व्युपरमे
नाम The reading विकल्पव्युपरमे is very good When the mental
vision of one dear to us vanishes the world is an empty wilder
ness कुकुराना इव after that the heart is as it were boiled in a
heap of chaff The fire of chaff burns slowly yet intensely
He means that the agony is prolonged and does not put a
quick end to life कुबूल—हम् chaff or fire of chaff 'कुडूल
शङ्कुभि कीर्णे श्वभ्रे ना तु तुषानले' इत्यमर Verse 39 शिशुकलहम्-
quarrel of the boys (लव and चन्द्रकेतु) जरा तथा-these are
the two causes why they take time in coming on the scene
विदूर आश्रम यस्यात् (तद्भावाहम्) तस्य भाव श्रमता तथा-because the
hermitage is far (from the battlefield) त्वरित मन येषाम्
चिरेणा जन they are coming after a long time anxious in
mind yet slow from fatigue N reads विलम्बटा for श्रमतथा,
which means 'whose matted hair has become loose' The
reading in the text is obviously better Verse 40 In the
first two lines, the main clause is वसिष्ठादिभि जुष्टे ऽमहे तातयो तत्
दृष्ट्वा after having seen that meeting of our parents (दशरथ
and जनक) at the festival which was attended by वसिष्ठ and
others सम्बन्ध मुदिते that were delighted by the desir
ableness of the connection (between the families of दशरथ
and जनक) जुष्ट-सेविते अध्य महे in the festival of the
auspicious marriage of their children. महाविशसे वृत्ते सति
दृढरा भवन्त्वद्य रिपु (सीतापरित्यागेन) पितृनगर (जनक) पश्यन् रुदन्न
(सीतापरित्यागानन्तरी) अह हि साहक्ष्या न दीर्ये शून इव when the great
slaughter (i.e. abandonment of सीता) has taken place, अथवा
दुष्करम् or what is difficult for Rama to do? He means —one
would expect that in such circumstances Rama's heart would

—VI 40] UTTARARĀMACHARITA. 179
be torn to pieces But that has not occurred, as I have such
an adamantine heart that I am capable of doing anything
(enduring even such a harrowing spectacle). Verse 41 अनु-
भाव मात्रानुमेयाय तस्मिन् मानवविभव श्री दर्श whose (former) beauty
remains only in his majestic mien This means that on account
of his sorrow for twelve years, Rāma had lost all his hand-
someness. महसैव—they saw Rāma much changed after twelve
years and the contrast struck them most. प्रथम प्रमूर् जनके व्यव-
स्थितेनापि after restoring to consciousness Janaka who fainted
first. विदुरा being helpless distressed. जनक fainted first be-
cause the sad face of राम brought home to him how Rāma did
not deserve the resentful words he had uttered a short time
before (ca कोपस्य यत्पितु यदित्थनकृतं गतेन वा). The reading
अनुकम्पिना is not so good as समवस्थितेन. V. reads प्रथमप्रबुद्धजनकव्यवस्थितेन—
which शू० explains as 'प्रथमप्रबुद्धेन वीकेनोपस्थिता पूर्वं दण्डप्रनिपातन-
रूपेण प्रसादिता चान्तेति यावत्'. But this is not good, as it
seems difficult to believe that जनक recognized Rāma sooner
than his own mother. Verse 42—Vide I. 51 for the first
half पदसमवदानि let me first go and pay my respects.
कुमारयोः प्रत्यभिज्ञानं यस्मिन्. This is a significant name given to
this Act. In this Act several circumstances present themselves
upon Rāma's notice making him almost believe that Kuśa
and Lava were his sons. But it is to be noted that the
recognition is not yet complete. It is in the 7th Act that
it will be complete, when वाल्मीकि will hand over the boys to
Rāma as his. This Act and the 7th deserve to be compared
with the 7th Act of the शाकुन्तल.
Act VII.
The scene of this Act as that of the last three is laid in
the neighbourhood of the hermitage of Vālmīki. The events
narrated in this Act occurred immediately after those in the
6th. The poet resorts to the device of presenting a drama
within a drama. The poet makes us believe that a drama
written by Vālmīki himself was performed before Rāma in
the presence of the citizens of Ayodhyā and the denizens
of the three worlds. This device is resorted to for the purpose
of convincing the subjects of Sītā's chastity and of the
wantonness of the scandal spread among them about Sītā.
The Act closes with the happy reunion of Rāma, Sītā and
the two sons, Kuśa and Lava.

180 NOTES ON [ VII. 1-
P. 142. ब्राह्मा (ब्राह्मणा) च क्षत्रं (क्षत्रिया) च पौराश्च जानपदाश्च
तैः सह सः जानपदः (बहुव्रीहिः) देवाश्च असुराश्च, तिरश्वां (पशूनां) उरगाणां
(सर्पाणां) च ये नायकाः (मुख्याः) तेषां निकायश्च (समाजः) तैः सह (बहुव्रीहिः)
ed; of भूतग्रामः तिर्यञ्च् m. lower animal उरगः a serpent
Serpents are said to dwell in Pâtâla निकायः- 'पशूनां समगोत्र्येषां
समाजोऽथ सधर्मिणाम् । स्यान्निकायः' इत्यमरः भूत-भावित the world of
beings has been caused to be present by his power ग्रामः -a
collection आर्येण-this refers to राम अप्सरोभिः &c. vide text
p. 101, where we are told that Vâlmîki wrote a portion of
Râma's life and sent it to Bharata for being represented on
the stage आतोद्यस्थानम्-the theatre (lit. place of musical
instruments) G explains why the theatre was situated on
the bank of the Ganges वीर० also says 'सीताया गङ्गाया जलादुत्त-
मनभीप्सनीय गङ्गातीरस्थ रङ्गत्वकल्पनम्' आतोद्यम् a musical instrument
स्थानसन्निवेशः seating of the audience इति-this is to be con-
nected with आदिष्टाश्चार्येण above समुचिते स्थाने संनिवेशः (seating,
placing) अद्य-is to be connected with आर्य in the following
verse Verse 1 राज्यमेव आश्रमं तस्मिन् निवासः प्राप्त कष्टं (क्लेशरूपदं)
मुनेः व्रत येन राज्या० व्रत० who, though a king, observes the
harsh course of life of an ascetic Râma did not revel in
pleasures as many kings do and he did not remarry though
his wife was believed to be dead वाल्मीकिगौरवात् from
his regard for वाल्मीकि अपि प्राश्निकाः are the judges in the
theatre properly seated ? प्राश्निक means 'a judge, one who is
to discuss the merits and demerits of a performance' Vide
नाट्यशास्त्र 27 47-50 for their qualifications They were to
recommend good actors for rewards from the king प्रश्नमर्हन्ति
इति प्राश्निकाः according to 'तदर्हति' पा ५. १. ६३. प्राश्निका may also
be persons who on account of their rank or high literary
attainments were specially provided with seats on the stage.
वीर० explains 'रङ्गस्य नाट्यगानस्य सामाजिकाः । रङ्गस्थले राज्ञा सह वृद्दार
इत्यर्थः । अथवा शान्त्यादिपरीक्षार्थमाहूतान्महन्तीति प्राश्निकाः । तदर्हाधिकारिपञ्चन् । समस्त-
शास्त्रनिष्णातास्तदृशा इति भावः' कुमारः विम्ब्यो should be given the
same respect as that shown to prince चन्द्रकेतु प्रतिपत्ति honour
The reading स्थानप्रतिपत्तिः would mean 'a seat of honour'.
प्रभु वृत्तम् I have already done so as I understood your
Majesty's affection (for them) प्रभोः (रामस्य) स्नेहं (कुशलवविषयं)
सम्यः प्रत्ययात् प्रत्यय understanding, it may also mean 'confidence'
relying upon' आस्तीर्ण राजामनम् this is the royal seat covered
over (with a carpet &c.) The usual सिंहासन was not brought
there, but a special seat with a carpet was reserved G

-VII 1] UTTARARÂMACHARITA. 181
criticizes the poet for these words वीर०, however, defends
the poet 'इत्यादि वाक्यम् । एतच्च सिंहासनव्यासौपसंख्यानेऽपि अगस्त्य-
दौहृदनामवन्नास्तीत्येवेति मन्तव्यम् । दृष्टा एव सदेवासुरेति ऋष्यादीनामपि तत्र
संनिधानसद्भावेऽप्या तद्गौरवभावात्सिंहासनातिरेकेणाशीर्वासनमेव युक्तत्वात् । एते-
नात्र कवेः प्रमादवचनं प्रत्युक्तम् ।' प्रस्तूयतां begin Henceforward we
have the गर्भाङ्क ( drama in a drama ).
P 144 सूत्रधार-This is not the सूत्रधार of the original
drama, but of the गर्भाङ्क composed by Vâlmîki that was
represented before Râma. A ऋषि is defined by साहित्यदर्पण (VI)
as 'अदृष्टरजप्रवेशो यो दृष्टसर्वसुखत्रिभाक् । अदृष्ट्वा सम्भाष्य कुर्यात् फल्गुवा
न हि । भूतार्थं वदति इति-one who speaks the truth (i.e. things as
they happened ) आद्यप्रजापति-because he was a mighty sage इदम्
is to be connected with किंचिदुपनिबद्धं वचनं समुपाध्वं कल्याणीषु रथी-
दयितम् किंचिद् something उपनिबद्धम् composed तत्र अवधेयम् you
should listen to it attentively on account of the importance of
the matter. The reading काव्यगौरवात् means 'out of regard for
the poem'. It is to be noted that the गर्भाङ्क was composed by
भवभूति himself and is represented in the drama as if it was com-
posed by वाल्मीकि. This suggests that भवभूति is as great a poet as
वाल्मीकि इत्युक्तं भवति-this is what is said. राम explains what the
words of the stage-manager virtually amount to. साक्षात्कृत धर्म-
णे that have an intuitive perception of धर्म (religious duties)
धर्म becomes धर्मन् at the end of a बहुव्रीहि compound 'धर्मादनिच्केवलात्'
पा ५ । ४ । १२४. These words are a reminiscence of the following
from the निरुक्त 'साक्षात्कृतधर्माण ऋषयो बभूवुस्तेऽवरेभ्योऽसाक्षात्कृतधर्मभ्य
उपदेशेन मन्त्रान् सम्प्रादुः' (chap. I ). अमृतभरानि- (अमृतं बिभ्रति इति )
that bear (possess) nectar (i. e. delightful truth). This
word seems to be a paraphrase of the word वचनामृत used in
the speech of the सूत्रधार. The word is formed on the analogy
of स्तनभरा which occurs in the मालतीमाधव (Act III) and in
the योगेश्वर. G. says that the poet commits a mistake in using
the word, as it is against पाणिनि, who allows such forms as
अमृतम्भर only in the sense of संज्ञा ( a proper noun ) 'संज्ञायां
भृतृवृजिधारिसहिदमिखटः' पा ३. २. ४६. दृशोऽमले-Vide notes p. 128
प्रज्ञाने correct intuitions. न हीयन्ते never prove false (lit
are never defeated) इति For this reason अतः तद्गति they
should not be doubted. हताशास्त्वां दग्ध all whose hopes are
gone hopeless. The reading इतस्या शास्त्रा is not so good. The
beast's may be said to be दग्ध, as she will not allow herself to
16

182 NOTES ON [ VII 1—
be devoured by them or हताश simply means 'wretched' इदं
किमपि alas! alas! this is something quite different (from what I
had expected) प्रस्तावना—here ends the प्रस्तावना of the गर्भानाटक
Vide the quotation from the साहित्यदर्पण above लक्ष्मणमवेक्षस्व (at
least) have regard for लक्ष्मण The meaning is—I abandoned
you without any just cause Hence it is natural that you may
not care for me But have regard for लक्ष्मण who will be
extremely grieved at your death and who did so much for you
in our exile in the Dandakâ forest Some read क्षणमवेक्षस्व (wait
for a moment) but this seems to be a conjectural reading
राम forgets for a moment that it was a drama that was being
acted before him. He fancies that the event was happening
just then दैवदुर्विपाक evil turn of fate प्रपञ्चः the incidents
in the composition. एष मय Here am I ready (to behold the
drama) hard as adamant He means that he will not give
way to grief whatever the performance may present to his
sight उत्सङ्गिन (उत्सङ्गः कृतः) एकैक दारक वान्ताम्—that had each
of them placed a boy on their laps उत्सङ्गिन past p p of a
denominative verb from उत्सङ्ग It is to be remembered that
besides the two boys कुश and लव that were seated with honour
near Rama there are represented on the stage two infants,
one on the lap of each of the two गङ्गा and पृथ्वी शमं विशामि I
as if am merged in pitchy gloom unknown before and with
out cause (i e sudden) He means that at the pathetic sight
his mind becomes dark and cannot comprehend things अविद्य
मानं निबन्धनं (cause or support) यस्मिन् अर्थे (अपथ्येति अप् पचायच्)
न तद् हनश्च अनलममम् according to 'अवसमन्धेभ्यःसमस' पा 5 4 79
(when गमन् is preceded by अव सम् and अप, ष is added on to it)
N reads 'असंविभावपदनिःपदे तमसि,' which is not good It means
in darkness where I do not know how to plant my foot
P 146 वंशाग प्ररोह (sprout scion) यस्य The word वंश
means family and 'bamboo Compare नव इव रघुवंशप्रसिद्ध
प्ररोह (Act V 3) and notes p 115 शुचित बाष्प तस्य उल्लोल वेन
निर्भर overwhelmed with a flood of tears that swell up चारित्र्य
उचित worthy of your chastity Some read चारित्रोपचिताम् gather
ed by (i e produced by) your chastity ईदृशी in this wretched
plight. अनुवृत्तश favoured कृणोदरम् extremely pathetic N
reads वन्धान्तं which वीर० explains 'स्तननाभ्युपरिभागिव मृणालसू
त्राद्याभरणं वध्वाम्तरिकं दुर्दर्श' अत्र स्नेहेन love for children is trium
phant inasmuch as even the all sustaining (earth) is pained