·6 BHASA PROBLEM c) Six plays based on the Mahabharata- 6 Madhyama-vyāyoga 7. Pancarātra 8 Dūta-vākya 9 Dūta-ghatotkaca 10 Karna-bhāra 11. Urubhanga d) One play based on the story of Krishna- 12. Balacarita c) One play based on folk-lote- 13. Cārudatta (a fragment) None of these plays bore the name of the author. Hence the lcarned editor, adducing some arguments, put forth bis view that - (1) All the thirteen plays formed the work of one and the same writer. (2) That writer was the great Bhāsa owned by Bāņa and Kalidāsa as their worthy predecessor. (1) All the Thirteen Plays by a Single Author- A close examination of these plays reveal that there are several common features among them- 1. All these plays begin with the stage-direction 'नान्द्यन्ते तत प्रविशति सूत्रधारः After this, a benedictory verse is found with which the sutradhara mences the prologue of the play. But other classical plays open with the benedictory verse, after which the Sūtradhara is introduced with the direction ततः प्रविशति सूत्रधारः Another stranger feature of the opening stage-direction in all these Trivandrum plays is the repetition of the same idea in apa and ततः 2 The customary practice of mentioning the names of the author of the play, his patron, ctc, in the prologue is totally absent in these plays. con- ·INTRODUCTION 7 6 3 Prologues, usually called agai, are termed स्थापना here 4 The Bharatavakja is the same? in most of these plays 5 The style and language of all these plays are strikingly similar 6 In many of these plays the device of "Unintentional dramatic replies' (Taferentaand the figure of speech ya! (Paronomasia) for the opening verse, are used 7 The same names of minor characters, the same type of grammatical irregularities, the same Karnabhata 1 an exception, where at is called F157711 The Pratijõa has a variant Āmukham for Sthapana and there 13 no such expression at all in the case of Balacaritam, "ce Critical Study, page 10 and Paranjpe's note on Sthapana 10 his edition of Madhyamavyayoga इमा सागरपर्यन्ता हिमवद्वि ध्यकुलाम् । महीमेशातपत्राश राजसिंह AMET 7 11 is the Haarty in Svapna , Bala and Dutavakya and भवनवरजसो गाव परचक प्रशाम्यतु । इमामरि महीं करना रनसिंह 90163 77 !! in Pratijñā, Avimaraka, Abhiseka and Panca / 2 Only the seven plays mentioned above bave 'UTFIRE TOTH in their Bharatavakya The Pratima and the hargabharam bave merely 'ya 197' | Io all thes- plays, we have the word Bharalavakyam before the valedictory verse exccpting in the case of Pancaratram There is no such verse in the Carudatta and Dutaghatotkaca, while in the MV, the last verse simply refers to Upendrd, aad in the Urubhaagan there is a aplıt verse at its end * See Pañca, Pratijña, Svapna and Pralimi 7 > ·8 BHAJA PROBLEM 11 ideas, sentences and expressions' repeat themselves 10 these plays 8 Bharata's rules of dramaturgy are not observed in these plays in as much as deaths, duels and battles are shown and water is actually brought on the stage 9 Stage directions are many a time wanting and to be supplied by the readers 10 The directions given are very brief and indicate rapid action, as in Exit and re enter! 10 The names of the plays are to be found only at the end (in the colophon) These striking similarities in the thirteen plays naturally declare their common authorship (2) Bhasa is the author of all these plays- A careful study of these plays further reveals that- (a) The grammatical and dramaturgical rules of Pānın; and Bharata are not applicable to these 9 See Devadhar : 'Plays ascribed to Bhasa their authenti city & Mernia, where he has noted several such repetitions 10 Cf for instance in the Pratina 115 the direction pronipalya 15 ricccssary at the beginning of the speech of the Kaocukıya as the king says later u 56 sfazifas etc In the Pafcaratra Act 1 several persons are intraduced to the king The stage direction relaung to their appearance on the stage is not found 11 Prof De appears to doubt even this Sec his articla "The Dramas ascribed to Bhasa' in I HQ X90 pp 415 ff RV Jagırdar maintains a similar vicw Sec bw 'Drama in Sanskrit Literature,' pp 74 1 ·INTRODUCTION 9 plays, which fact shows that they must have been composed before those rules were framed.. (b) The frequent use of the Anuştup mctre and the expletives a, d, e, etc. in the stanzas, the simplicity of diction (many a time inadequate to bring out the ideas intended), and the absence of the classical figures of speech take them near the epic style of the Rāmāyaṇa and the Mahābhārata. (c) Many of the ideas contained in these thirteen plays have been borrowed and modified in their works by 12 Kalidāsa, Ašvaghoșa, 14S'ūdraka, 1sVišākhadatta, and many others. These and similar facts make the readers believe that the author of these plays must be anterior to Panini, Bharata, Kalidasa, S'üdraka and such others. But who could he be? Among these thirteen plays, there one by name Svapnarăsadadalla which is ascribed to Bhāsa by Rājasekhara in this stanza of his- भासनाटकचक्रेऽपि च्छेकैः क्षिसे परीक्षितुम् । स्वप्नासवदत्तम्य दाहकोऽभून्न पावक ||--- सूक्तिमुक्तावली 12 Sec Gapapati Sastri, op cit, and his Introduction to Svapnavāsavadatta and Pratimā. 13 Pralijñā I 18 has been transformed by As'vaghosa In the following stanza of his Buddhacarita, XII 60 काष्ठं हि ममन् लभते हुताशं भूमि खनन् विन्दति वापि तोयम् । निन्धिनः विचन नात्यसाध्य न्यायेन युक्तं च कृतं च सर्वम् ।। 14 Scc Pusalkar Op. cit. pp. 155 ff "s Mudrarakşasa is probably the outcome of Vis'akha. datta's study of Bhāsa's Praujía.

·10 BHAJA PROBLEV This coupling of one of the plays with the name of Bhāsa establishes that all the other works too (claiming common authorship) must be by Bhāsa, who alone has to his credit a Näţakacakra Bana observes in bis Harşacarstas सूत्रधारकतारम्भ र बहुभूमिके । सपताकैर्यशो लेभे भासो देवकुलैरिव ॥ Bhāsa gained as much fame by his plays begun by the stage directors, containing many and varying characters, and stirring dramatic episodes, as by (the erection of) temples constructed by architects, with several stories and banners! The Trivan dram plays have all the above features and hence they must be by Bhāsa This Bhāsa must be the same as the one owned by Kālıdāsa as his predecessor and spoken of as a 18 muni by Jonarāja These two views of the Pandit were discussed in learned journals by scholars,'' both Indian and foreign The result was that almost all concurred with the Pandit regarding the common authorship of these plays As regards the other question, there came up three different vicus, VIZ ,- 16 Aferzft 1719gå 787 fregahari1917 aprf774 while commenting on the following venic of Jayarks (12th CAL AD) in hu Pithvirkjavijaya - मलायसहारवियो बगना दामानि बोरपि मानमानि । मागम्य काम्प गरिष्णुधर्मान् (१) सोप्यानात्मरन मम ॥ 17 For a bibliographical note of publ cations on thisa, Ice Appendix 1 to AD Pusalkar'ı 'BHE-A Study " Scholars such » Prof herib, Thomas and Parangpe supported bc Pandit's View, Prof Kane, Ds Barnett, . 1 ·INTRODUCTION 11 1. All the thirteen plays are the works of Bbāsa, 2. None of the 13 plays can be ascribed to Bbāsa. 3. The material available to prove the author. ship of the plays is inadequate and hence the evidences adduced so far are not at all conclusive, Scholars who opposed the Pandit's view pointed out that a) The features of Bhāsa's plays mentioned in Bāna's verse are found also in many other South Indian plays, and hence cannot be a conclusive proof. b) None of the plays can be Bbāsa's; for, the Svapnevä savodatta of this group does not contain the following stanza quoted from Bhāsa's play of the same name, by Rāmacandra in his Natyadarpana 20पादाबान्तानि पुष्पाणि सोमं चेदं शिलातलम् । नूनं काचि दिहासीना मां दृष्ट्वा सहसा गता ।। Rama Pisharodi and Krishna Pisharodı opposed it; some others like Dr, Sukhtankar and Prof. Winiernitz opised that the 'cvidencts adduced by either group were not conclusive. 19 Scc Sakubhadra's As'caryacīdamani, Nilakantha's Kalyana-saugandhikā, Kulas'ckhara-varma's Tapali. Svayamvara and also the anonymous play Vipāvāsavadattā (a fragment in 3 Acts) publtsbed by Prof. Kuppuswami Sastri in the Journal of Oricotal Research, Madras, 1931. 20 This stanta was later inserted by T. Ganapati Sastri into a relevant context of the 4th Act of Svapna, bringing out a 2nd edition of the play. It must be noted here that another stanza beginning with eacher: nisi cited in the Bhavaprakās'ıkā as from the Swapnavasavadatta is found in the prereat play (Ace VI).

·12 DATE OF BISA $ These diverse views of the two sections of scholars naturally led to the third view mentioned above, of a few cautious scholars Arguments and counter arguments defending their own stand and refuting their opponents' were put forth by the two diverse groups in a series of articles for a long time This only made the problem of the authorship more and more complicated. Thus, to this day, this question of Bhāsa's authorship has not been answered conclusively and hence it is regarded as an unsolved problem 2, DATE OF BHASA Bhāsa must be earlier than both Kalidasa and Bāna who refer to him by name as observed already, and later than Vālmıki upon whose Rāmāyaṇa he has drawn for the theme of his two dramas, viz, Pratimā and Abhişeka. But Kālidāsa's date is still indefinite, If Dr. Peterson holds that "Kālidāsa stands near the beginning of the Christian Era, if indeed he does not overtop it." Dr Kern places him in the latter half of the 6th cent.A.D. Bāņa's date however is almost definitely known to be the closing part of the 6th and the beginning of the 7th cent AD So, at any rate, Bhāsa's datc cannot be later than the 6th cent A.D. As regards the date of Vālmīki too, scholars differ. Prof. Kcithai is inclined to think that Valmiki lived carlier than the 4th Cent B.C. and that those who improved on him were during the 21 See his History of Sanskrit Literature.

·INTRODUCTION 13 period 400-200 BC, while Prof. Jacobi assigns him to a date earlier than the 5th cent B.C. These two limits of Bhasa's date are almost universally accepted; but there has been much diversity in the opinion of scholars regarding the exact date of Bhāsa. Some feel that he should be closer to Kālidāsa, while others feel that he is closer to Valmiki. The learned editor of Trivandrum has pointed out that Bbāsa must be definitely before Pāņini and Bharata, as their rules of grammar and dramaturgy are sometimes not applicable to his plays Again Pāṇini's date is not known definitely. Keith places him in the 4th cent. B C. Accepting this date of Pāņini, if Bhāsa is prior to him, Bhāsa will have to be assigned to the 5th cent BC.at the latest,2 But it may not be right to argue that Bhāsa is anterior to Pāņini or Bharata, just because their rules of grammar and dramaturgy do not hold 22 Date of Bhasa according to different scholars- Ganapatt Santri, Haraprasada Sastri and Pusaltar Eth cent BC. Jagirdar, Yulakarni 3rd cent. BC. Jayaswal, Choudhury, Dhruya 2nd 1st cent. BC. Konrow, Sarup, Welle: 2nd cen, A.D. Keith, Jolly, Jacobi, Banerji Sastri and Bhandarkar 3rd cer'. A.D. Lisbey and Wiaternitz 4th cest. A.D. Shaatar 5th-6th cert A.D. Dezahar, Barnel, Hranards Sastri, Nerutkar and Fiskaroti 7th cent AD 9th cent. A.D Pomaratara Sarma 10th cen. A.D. Rangacharya Reddy 11th cert. A.D. 3 Каде ·WAS BHASA & SOUTH INDIAN good” in the case of Bhasa's works Has not Panin, talen into account all the words in the forms they were known to have been used before bim? If Bhasa were anterior to him how could the forms so frequently used by him be overlooked by Panını? The same argument holds good with regard to Bharata also Hence, it would be sa fer to hold that Bhäsa must have been a contemporary of Paninı or Bharata and lived in a country far away from where those two lived 3 WAS BHĀSA A SOUTH INDIAN ? A few enthusiastic South Indian Scholars24 have tried to show that Bhāsa was a South Indian In claiming him for Kerala in particular, their contentron is that (1) All the thirteen plays were found in Kerala (2) Sıtā is not with Rāma when he is to be consecrated ( in the Pratimā), while the practice in all places except Kerala is to have the couple together on such an occasion (3) The terms Hae (in Pratijñā), fait (in Avi) and 2717 are used in the Malayalam sense (4) The maternal uncle is much honoured Avimāraha bows twice to bis maternal uncle, which speaks of the Marumakkathayam practice and hence Bhāsa must be from Kerala 23 This presuming that Bhasa would not bave deviated from such rules, if he were aware of them 24 Sce Pusalkar Opcut pp 52ff and A K Pisbaroti s • Bhasa's Works A Criticism ·INTRODUCTION 15 But these arguments are not quite convincing. The mere fact that some manuscripts were discovered for the first time in a certain place cannot establish that their anonymous author was a native of that place. Sita's absence from the consecration scene (and even her ignorance of her husband's consecration) is to be explained as a dramatic contrivance. As regards the terms 19-a, far etc., there is no reason why we should not believe that these Samskrt words had oace the meaning in which they are used in these plays. The special honour to the maternal uncle is only what is prescribed by the Dharmaśāstras.25 Thus, none of the arguments advanced to prove that Bhāsa was a South Indian stands. On the other hand all the characters of his plays, names of cities, rivers, mountains etc. are northern, which may go to show that he was a North Indian. The discovery in Northern India of Yajñaphalan25, which also is being ascribed to Bhāsa, may add weight to this view, 4. LIFE OF BHĀSA Precious little is known about Bhāsa's lifc. All that can be said about him is that he is a very ancient writer, even a Munt of the class of Vyasa or Valmiki. He has strong predilections for the Vişnuite cult. He loves Brahmanical rites and customs and often refers to the prominence of the Brahmins His regard for the Brahmins and their 23 See Manu II 130; Bodhāyana 13, 45; Īpaslamba I 14-11; Vasiştha XI 2, XII 41; Gautama V 27. 25 See note 5 supra.

·16 LIFE OF BURSA 3 piety is very great In the Bālacarita, Kamsa says calmly - I take even an untrue word of a Brābmana to be a true one The home was the place of women according to Bhāsa Bhāsa 15 a vehement advocate of Dharma He believes in the principleri tafa afeta That 1s why he makes Yaugandharāyaṇa in the Pratijñā exclaim - 'भूमिमतारमापन रक्षिता परिरक्षति' In the Pañcarātram, Duryodhana points out that it is false to say that Heaven is to be gained only by the dead and asserts that Heaven is not invisible, but is here and yields its manifold fruits If truth were to stand even in respect of solicited alms, all men shall stand' Bhāsa stresses on gifts and sacrifices In the Pañcarātram, Duryodhana is represented as performing a great sacrifice and making profuse gifts, the final gift being that of half his kingdom to his own teacher Drona Karna observes that the great kings such as Iksvāku, Saryātı, Yayātı and Rāma though dead, still live through sacrifices The following statement of Karna in the Karnabhāram is an ever memorable one- शिक्षा क्षय गच्छति कालपर्ययात् सुबद्धमूला निपतन्ति पादपा । जल जलस्थानगत च शुष्यति हुत च दस च तथैव तिष्ठति ॥२२॥ Bhāsa often feels that fate baffles all human efforts 'जाग्रतोऽपि बलवसर कृतान्त 'चारपक्तिरिय गच्छति #17977f''F $ J9 fa teka!-(Svapna vi 10) are a few of his statements wbich can be noted in ·INTRODUCTION 17 171 this connection. All the same he is not a fatalist. He has vehemently expressed his conviction that proper efforts are bound to fructify, in the following statement of Yaugaodharāyaņa- काटादग्निर्जायते मध्यमानाद् भूमिस्तोयं खन्यमाना दटाति । मोत्साहाना नास्त्यमाध्य नराणां मागारन्धाः सर्वयत्नाः फलन्ति ॥ Pratijna i 5. WORKS OF BHĀSA Mention has already been made of the thirteen plays ascribed to Bbāsa. Another play called Yajñaphalama? dealing with the story of the Balakānda of the Rāmāyaṇa has been published in 1941 and attributed to Bhāsa. There seems to be however, a belief that Bhāsa wrote as many as twenty three28 dramas among which "Mukuța. tāditaka and Udāttarāghava?' had a place. About 13 stray verses are attributed to Bhāsa. Of them, five are found in the Sarngadharapaddhati, fore in the Subhāsitāvali three in the Saduktikarnāmſta and one in the Sūktimuktāvali. 27 Sec gote 5. 27 Sce R V. Krishnamachariar's Bhūmikā (P. XXXIII) co Priyadars'ıkā (V. V. Press, Srirangam) 29 But Mukutatādítaka and Udaicarāghava are now attributed to Bäga and Mayūra respectively. 30 One of these verses occurs in the Maltapilasa and four arc attributed to other authors by other anthologists. This proves the notoriously unreliable character of anthological attributions. See F. W. Thomas J.R.A.S. 1927 p. 883 r.

·18 STYLE OF BHASA None of these verses is found in any of the Bhāra plays discovered so far This cannot be a disproof of Bhāsa's authorship of those plays, for, we may yet hope to discover more works of Bhāsa where these verses may be found 6 $1 YLE OF BHASA Bhāsa always employs a simple, elegant and, at the same time, a direct and forceful style for everything that he writes His verses, as well as his prose, are casy to understand in as much as the words employed are very simple He is very brief in his expression which is sometimes inadequate to bring out clearly the idea contained therein Ho scrupulously, avoids the use of long compounds 3. The speeches of his characters are generally short but pointed and hence very effective Hc is fond of repeating the same expressions, phrases, sentences and even stanzas in the course of almost all his works times puns" on words He employs only simple figures of speech His plays abound in beautiful Subhāsıtās and pithy proverbial statements HC effectively cmploys the 407917917 device, (that is, unintentional dramatic replies), in specially selected cpisodes His descriptions, although long sometimes, arc splendid and picturesque Bhāsa expresses things directly and in a simple and lucid language He does not generally indulge in artificiality and rhetorical concerts " There is He some 10 7 II Sec Svapnavõsavadalla u and 11 > Orubhangam dan ciception ·INTRODUCTION 19 something remarkably charming in every statement of his. His humour is subtle and original in appreciation of which, Jayadeva called him the gentle smile of the goddess of poctry,'93 7. GENERAL In every one of his thirteen plays, Bhāsa displays his originality Although he draws the subject matter in very broad outlines from popular sources, he invariably presents it in his own way, changing it completely in many cases for the better For instance, in his Pañcaratram, he makes Duryodhana give away half of the kingdom to Drona as Gurudaksina, which is of course handed over by Drona to Yudhişthira. Thus, the great Mahābhārata war is altogether avoided. The Statue House Scene in the Pratimā, and the Dream Scene in the Svapna are two of the many beautiful creations of Bhasa. A remarkable feature of these plays is that they are all actable without making any additions or omissions Some scholars even maintain that the now published versions of the plays are only stage-adaptations of the more elaborate originals of Bhāsa. There is a predominance of male characters in these plays, while it is not so in the classical ones. Most of these exhibit a martial यस्याश्योरश्चिपुरनिकरः कर्णपूरो मयूरा ART ETA: façage: Filezzel femra: 1 हपो हपः इदयामतिः पञ्चवागः स चाण: केया नैया कथय कविताकामिनी कौतुकाय , -Iravaux guava 33 ·20 BAASA AND KID ISA spirit The dialogues are crisp, to the point, and in an easy flowing style In every play, dramatic suspense' is so well maintained that, as the plays progress, the audience get more and more absorbed in them 8. BHĀSA AND KĀLIDĀSA Bhāsa no doubt has many ccellences, but occupies a lower place than Kalıdāsa at any rate The very fact that Bhāsa was superceded by Kalidasa and that generations of Indian Scholars almost forgot Bhāsa is a proof that he is not the best of Indian poets The difference between them lies in the very conception of dramatic literature To Kalıdāsa or Bhilabhūti Rosa is eterything However much Sanskrit dramas muy differ in other respccis, this unity of Rasa is common 10 them all In Bhāsa on the other hand, io spcak comparatively, it is lacking. In other words, we may say that, while in Bhūsa's dramascmotions are first cvoked, in the latter dramas emotions are cooled and idealised In the former, we have the cmotional state iblats) as an object of our contem. plation, whicia the latter we have thosc emotional states leading us on to the inner experience of detached Joy (rosa! In fact, Bhasa has greater claims to becompared with dramalisis, like Shahes peare, who excel in sketching character or con. structing plois, more than maintaining the unity of Tasa Kalidasa's ideal is later and must have taken sometime to desclop If we should male duc allowance for growth, we will have to assiga 10 Dhūsa a date long anterior to Kalidasa ·INTRODUCTION 21 9 AIM OF THE SANSKRIT DRAMA It is natural that, as students of English, we compare Shakespeare to our dramatists, but in all such comparisons it is necessary to guard ourselves against a possible mistake We often assume that literary standards are of absolute value It is wrong Every nation develops its own ideal of art and it would be quite unreasonable to judge one author by standards which he did not recognise and perhaps deliberately set aside We must admit that there is scope for diversity of ideals especially in a subject like art Ifso, what is the ideal ofa Sanskrit drama? The answer to this question is contained in the word Rasa Rasa generally denotes an emotional state It also means an inner attitude of detached joy It is only to the latter that the term Rasa is strictly applicable In the other sense, the word to be used is Bhāva, 1c, an emotional state regarded merely as an object of our contemplation but not as experienced by us This double signi. ficance in the word Rasa tells us what the theme as well as the aim of the Sanskrit poet is The theme is emotion and the aim is so to represent it as to arouse in us spectators the kind of detached joy lo which reference has been made a bove This Rasa is peculiar in that it is invariably of the nature of joy, no matter whether that emotron treats of something happy or tragic The evoking of this joyful experience is the first and foremost task of the Sanskrit dramatist and the whole technique of his art is subordinated to at But the aim of the English dramatist is to work in the fore front the character drawing Here we see the difference between Shakespeare and the Indian dramatist 4 ·22 B. THE PRATIMA-NATAKA THE PLOT GENERAL-The Pratimanataka is one of the best written plays of Bhasa It is in seveo Acts and deals with the story of the Ayodhya, Aragya (and Yuddha) kandas of the Ramayana in the mata le is full of original touches by Bhasa almost at every stage of its progress The play begins after a very brief prologue (Sthapana) Act 1 - The First Act opens with a portress, telling Balake the Chamberlain about the desire of the great king Dasaratha that everything required for Rama's consecration should be got ready at once Balakı informs ber that all arrangements are made, the ministers and citizens have assembled and the Holy Vasistha li awalling the king The portress next snds Sambhavaka, an atıcodant to hurry up the bagh priest, and Sarasıka a mard, to instruct the actressc. of the palace court to be prepared to enact a suitable play oa the occasion She herself then proceeds to report to the kung thai all u ready One of Sira's maids Avadauka by name comes with a bark garment which she has brought away from the green. room just to spite the sites of the theatre Reva, as she refused to grant her an As'oka sprout She 18 met by Sira coming with her retinue from another direction Sied learns from Avadanka the folly she has com moitted and advises her 10 turn the garment to Reva But becoming suddenly curious to know howa bark garment would suit her Su tales • The other Rimiyaga play by Bhasa, belonging to the Trivandrum plays group, " the Abhisekansiskam in six Auis dealing with the story of the Kiskindha, Suodara, and Tuddha Kapças The Yaji aphalam published on 1441 from Gondal and ascribed to Bhåna deals with the story of the Balakanda ·INTRODUCTION 23 31 from her band and puts it on She then sends a maid to fach a mirror It 19 brought While taking it from ibe mad, Sıra observes that she is cager to say something The paid, acquaints her wih the news that Rama u going to be coronated 'WhyIs his father not well?' asks Sita The maid assures her that the king bimself is coronating him Thercupoo Stta is happy and takes off all her ornaments and distributes them to the maids just then joy drums, indi cating the approach of the coronatton, are beaten but stopped suddenly after a short time A maid remarks about this, but Sita says 'In royal courts many things happen' Mbile they are sull conversiog on this subject, Rama himself conscs cager to meet Sita and to tell her how 'he is still himself and the king us still king He is greeted by Sita As he 13 found in an ordinary attire, a maid whispers to Siu that the news heard by them must be false Rama notices their curiosity and tols them in detail what had happened, -bow Dasaratha made him sit on his lap and said 'Ob Rama my son, accept the kingdom' 'What did my lord say to thar?' asks Sita 'Maushili, what is your guess? asks Rama 1 guess that my lord, not saying anything, but simply) heaving a long sigh, fell at the feet of the great king replies Sita "Well guessed Rarely are couples created with dispositions so alike I ſell at his feet His tears poured on my head and mine on his feet Thus when his persua sions had no effect on me I was conjured by his life Satrughna and Laksmana held up the consecration water to pour it on me The king himself held the royal umbrella OVC me Just then, Manthara came in, whispered something in the king's ear, and lo, I am not king!' 'I like that' says Sita 'The great king is the same great king, and my lord 19 just my lord' Ráma is highly satisfied to hear these words from Sita and looks at Sua's face in admiration Then he notices that she has taten off her ornaments and 17 ·24 THE PRATIVA-NATAKA askt her why she has donc 10 'I am not wearing thechas yet' says Sita But Rama observes that she must have just removed them and asks her to put them on and holds the mirror Now, in the mirror he see the garment the 15 wearing It is a birch one! He wonders what made her put it on and says-'I like the dress Bring me onc.' Sila protests against his wearing ", saying 'It looks Inauspclous, as my lord's installation has just been stopped' All on a sudden, they hear a walling sound --'Alas, alas, the great king!' Then copes a chamberlain and, in a very stirring conversation, acqusinis Rama that Korkey has caused the king to swoon by greedtly demanding from him Bharata s coronation Rama refuses to think that his mother Kaikeys is greedy and says that she is perfecily right to asking for Bharala', coronation as it was stipulated at the time of her marriage and that he (Rama) on the other hand should be called greedy as he had agreed to be crowned king At thu stage Laksmaga cntera crying out to Rama-"Take your bow and show no compassion The mild people are alwat pul lo such humiliation Or, if you don't bike it, leave it to me I shall and the world of all V011 Wen Raqi and Sun wonder what ths foolish excement of Laksmaga means Rama thinks that Lakunaga's anger 1 due to hre missing the coronation, buat Labsmapa tell him buriting into tears, --'care mile for the resim, but I really mind your being exiled in the forene for faurteen years' Rama now understands why The king land and immediately prepares to proceed to the forgt SITA Keds Rama's permission to follow him In ile txahunne Revl, the muts of the green rooid kodi Iresh tak trots lo Stk, having come to Inow of her isteteit 10 that dees Rama tant and put them on Letrage asks for one and express his denre for going with him to the forest Ramı dinuido hias but in vain Now 20 ·INTRODUCTION 25 1 all the three set out On calcriog into the road, Rama asks Sila to remove her veil, so that all may gaze on her face freely The chamberlain hurriedly comes and asks them to wait saying—'Thc king is coming here, bu limbs sullied by dust, like a worn out forest clephant from its dustbath But Rama does not wait He goes 10to exile with Sira and Laksmaga Act II -A brief conversation between the chamber lain and a porire's (forming the loterlude to this Act) seveals the state of Ayodhya and Das'aratha after the departure of Rama with his wife and brother to the forest Next the sorrow stricken kiog attended by Kausalya and Sumitra, is introduced He bewails Rama's exile He cries out 'Oh wretched fate, why did you not decree these three things -That I should remain childless Rama be born the son of some other king, and Kaikeya tigress in the forest?' Kausalya weeps and yet comforts him A chamber- Jain reports the arrival of Sumapira The king us delighted and asks 'With Rama?' No, only with the charior' replies the Chamberlaio The king immediately swoons A little later he recovers somewhat and exclaims-'I the chariot has come back empty, my desires are all squashed thep really eb- chariot sent by Death to takeaway Das ararha' Sutantra enters and greets the king The king asks him a number of questions about Rama Sita and Laksmana Sumantra begins 10 reply--'All of theto ', when the king says--'No, no Pronounce their actual names are elixirs to my ears and doses of medicine to the suffering of my heart, Then Sumantra gives out the names, - • Rama Lakstoana and Sita' Immediately Das'aratha crics •No, no That is not the right order' Sumantra asks—'What is the proper order then?' Dasaratha tells hron—Say Rama, Sita and Laksmana Even here, let Sira stay between Rama and Laksmaia The forests are full of It 35 They ·26 THE PRATIMI-NATARA penils and sbe will (bus) be with protectors Sumapira Dames them in the order suggested and relates to the king how they all turned towards Ayodhyå, attempted 10 say something, but as their tbroats got choked with tears, they could say nothing at all and went away to the forest 'How, how? They went away to be forest, saying nothing cries the king and becomes unconscious The queens attend on the king Report is sent to the ministers that the king 19 in an irremediable state The king recovers and laments Over Rama's lot and in a short wbile, beholds hus forefathers before his mind's eye and breathes his last ACT III - The INTERLUDE to this Act shows the cleaner of the STATUE House having a nap after udying the premises for the queen's visit, as instructed by Sambhavaka, an officer from the palace A servant of the court comes there to see the arrangements made Finding the cleaner sleeping he beats him The cleaner watcs up grumbles and say: 'Unfortunately, I have not got a thousand arms like Kartaviryarjuna!' 'What would you do with the thousand arm?'asks the servant 'I would kill you'-says the cleaner You trical' says the acrvane and thrashes him over and over In a shon nime, both cool down and the fervant observes that the STATUE House has been cleaned and kepe ridy and goes back to the palace to inform the minister that everything is ready The Act proper opens with Bharata coming to Ayodhya in a chariot He asks the charioteer-'What is the ailment of my father?' 'A great mental angunh' replies the driver hai do the physicians say?' They are quite beipless'. 'Does he sleep? or take food?' 'He lit on the base carth, without food' ' li there any hope, then?' That depends on destany'- replies the charioteer 'My heart palpitates, drive the chariot fant' says Bharata The chariotter obeys and in short time the chariot arrives at the outskirts of ·INTRODUCTION 27 star was over Ayodhya City Ancessenger from the court comes Bharata's first question to him 1 'Has Satrughna come?? 'He is coming ' rcplics the servant and conveys to bır thc sostructions of the preceptor that he should stay outside the city for about an hour more, unul the sway of the Kritika Bharata agrees to do so and observes that he has oever over stopped the words of the preceptors For a while he considers bow to spend that time there Hug attention is drawn by the Srarve House bebuod ebe greco frecs closcby He then decides to visit it, mutaking it for a lemple He goes 18 and notices special decorations every where Inside, he finds four statues installed aod wonders if they could be a set of fout gods in one place He us about to bow dowo to them when he is forbidden to do so by the keeper of that Statue House Bharata asks him—'Why, sir, tbis tyranny of rules?' The keeper replies - Not so I oply prevent the Brahmins from mistaking these statues for gods, and saluring ihem For, these arc only Ksatriyas, of the Iksvaku family' 'Ob, my own ancestorsBharata exclaims to himself and is very happy that chance bas brought him there Then he asks the keeper to give out the namry of those Iksvaku kings, one by one The keeper begins with Dilipa the name of the first statue, then names the second, Raghu, then the third, Aja Bharata clearly sccs from the order that the next statuc is of Dasaratha But, be wonders how his statue could be jostalled there along wlth those of the dead kogs So before the keeper would dame the forih atatue, he turns to the first again and asks him to name them once again The keeper gives out the names of the three statues a second time and 15 again at the fourth statue Bharata once again asks him to repeat the three "Tbnis Dulipa, bis is Raghu, thus is Aja'-says the keeper Baarata's suspicion grows stronger and there fore, he asks the kecper-'Sir, I ask you one thiog Arc names ·28 THE PRATIMA-NATAKA sir the statues of the living kings too erected "Not at all only of the dead' replies the keeper Then, I take leave of you? says Bharata and tries to go out But the keepei tells him-'Stay, why don't you enquire about this statui of Dasaratha who gave up both his scalm and life as the bridal ſec to his wifeThis news is terrible to Bharata and hc falls down unconscioDS After a short while, he recover and says to himself-'O heari, be satisfied, now that you: muguviags are confirmed! If thug basc term of bridal fee ha any bearing on mc and proves true, then I must purify thu body (by fire)' The keeper has by now come to feel that he x Bharata and so asks him— 'Are you Bharata, son of Kaikey? "Yes I am Bharata, the son of Dasaratha,-nos of Karkeyi'- Teplies Bharata The keeper tries to take leave of him, bui Bharata bids him say the rest "What (orber) go? Listen King Das ara ha expired I do noi know the purpose with which Rama went to the forest, with Stra anc Laksmana?' - says the keeper "What? My brother gone to the forest ?Cris Bharata and swoons After recover ing he learns from the kecper how Rama's coronation wa stopped by Kaikeyi and is much affected This makes hic go into a very deep swoon At this stage, the queens arrive at the Statuc House Sumantra brings them in, but on finding somcone lying prostrate there, crics out to the ladies not to enter Th keeper informs them that it is Bharata and no stranger Thi qurens then go to him Bharata 3000 recovers and recogn ses Sumantra The queens are next introduced the prince, Kausalya first and Sumira next He bows theon and receives their blessings Kaikeyi is introduced third, with the words—'This is your own mother' Bharata suddenly rises up in anger and cries-'Ah, you sioner! Standing between these two mothers of mine, you do not shint well, like a polluted rivulet let in between the rivers ·INTRODUCTION 29 Ganga and Yamuna 'Bharata refuses to salutcher Kausalya asks him to observe the formalities and bow down to his mother 'Mother-you say! Yes You alone are my mother Mother, I salute yo s'-he says and bows down to Kausalya a second timc 'No no, this is your mother' says she She was formerly, but not now,'- he replies and points out that she has ceased to be a mother by wronging her own husband Then ensucs a direct controversy betweco Bharata and Kaikeyi Bharata is not satisfied with the answets given by her Kaikeyi too does not pursue s far and keeps quict saying-'I will explain things to you at the right hour, in the right place' Sumantra next tells him that the ministers have arranged for his consecration and expect him in the city Bharata simply says 'Let the subjects follow mc' 'Where will you ga leaving the consecration” — asks Sumantra Consecration--you say? Offer it to Her Ladyship here Now I go there, where Rama lives Ayodhya without him is no Ayodhya That is Ayodhya where Rama is '- saying thus Bharala proceeds to the forest ACT IV-A short conversation between two maids, Vijaya and Nandınıka, about the incidents that took place in the statue House and Bharata's departure to the forest refusing to get crowned, forms the Interlude to this Act The Act proper shows Bharata and Sumantra approach ing CouTRAKŪTA, the residence of Rama iken On arriving at the portals of that penance grove, as Sumantra refuses to announce to Rama Bharata's arrival there in the manner suggested by him, Bharala announces himself aloud Rāma hears this, feels delighted and scods Laksmana to find out Laksmana gocs oui, sccs Bharata and at first mistakes him for Rama, but very soon observes that it 19 only a resemblance in appearance He is glad to meet Sumanira also, greets him and then goes to Rama to tell him that Bharata and Sumantra havę arrived Rama is over. 5 who 14 15 ·30 THE PRATINA-NATAKA Joyed to hear this Laksmana seeks Rama's permission to bring Bharata in You want my order even for this?!- says Rama and asks him to get him at once On further reflection, he calls back Laksmana and sends Sita to honour the prince suitably, like a mother full of affection for her child Sıra goes and is surprised at the remarkable resemblance between Bharata and her husband Bharata salutes her She 13 struck by the similarity in voice too After the formal greetings, Bharala and Sumantra are taken to Rama Rama ern braces Bharata fondly On secing Sumantra, Rama is reminded of his father, his death and his solitude in heaven, and says "How can that illustrious king live in heaven (comfortably) separated from you, so affectionate and dear to hım' Sumantra is moved to tears at this and says My long Dife has borne very many unpleasant things, the king's death, your exile, Bharata s misery and the helpless state of the Royal family, and it has thus erred in what seems to be an advantage sita observes that Sumantra 19 making her already grieving husband weep once again Rama composes himself and asks Laksmaņa to fetch Bharata stays Laksmana and goes out and brings Rama observes that Laksmana's work is being impaired Should you not be served by Bharata also ?' asks Sita "Yes Bu Laksmana shall serve me here and Bharata there, in the city'-answers Rana, Bharata insists on bus staying in the forest with Rima But Rama is stiff and conjures in with his owo hſe should be refuse to govern the kingdom Bharata 19 thus silenced He then says to Rama that he will preserve his kingdom on condmon that Rama shall accept it back at the end of fourteen years Ratna agrees to the condition Bbarata asks Sıca, Laksmana and Sumantra to be witnesses to it and then begs of Rama another favour, namely, the granting of the two sandals worn on his feet Rama 13 very mucb pleased with Bharata and 2 Rana weeps water water ·INTRODUCTION 31 fulfills his wish saying 'I have gained very little glory In all this long time, but in a minute now, you have acquired a loi, O Bharata!' Bharata receives the two sandals of Rama on his head and expresses his desire to install tbem on the thronc as Rama's representative Rama bid: him return to Ayodhya immediately Sita desires to retain him for somc time, but Rama says-'No, let him go now alone A kingdom should not be neglected cven for a moment' Rama Tequests Sumantra to look after Bharata, Bharata and Sumantra then ascend the chariot Rama, Laksmana and Sita follow the chariot up to the gale of the hermitage and give them a good send off ACT V.This Act shows Silā watcriog the young trees of the hermitage Rama comes scarching for Sita, sees the trecs newly watered and meets her there He asks Sita to sit down When both are seated, Sita observes that her husband is looking a little worried and asks him for the rcason Rama tells her 'Tomorrow I have to perform the annual ceremony of my father I wish to do it in a manner beficting the king and mysell Otherwise, when my facher sees the fruits of the forest placed on the Kus'a grass with my own bands, he will be reminded of my exile and weep even in heaven At this stage Ravana, in the guise of an ascetic, arrives there and announces himself as a guest Rama asks Sira to bring water and other materials to give him an honourable recepuon But Ravana tells bim that he is honoured by his very words and that other things are unnecessary Ravana poses as a Brahmaga of the Kas'yapa goira, versed in Vedas, Vedāngas, Manu's Dharmasastra, Maheswara's Yogasastra, Bihaspati's Arthas'astra, Medbatithi's Nynyas'astra and the Sraddhakalpa of Pracetas Rama asks him 'Venerable sir, with what (material) can I gratify the shades of my ancestors at SRÅDDHAS?' 'Everything offered with devotion 1 SRĀDDHA'replies Ravaga But ·32 THE PRATIMA NĀTAKA Rama wants to know of special offerings of particular inte rest to the manes Then Ravana mentionsThe Kus'A among grasses, sesamum among herb productions, the KALAYA among vegetables, the great SAPHARA among fishes the VARDHANAIA among buds, and among beasts, the cow or the thinoceros or.. and stops abruptly 'Or, what other beast please' asks Rama Ravana says that it is no USC telling him about that beast called the GOLDEN SIDES as it lives in the Himálayas He adds that of this animalis offered to the shades 18 a SRĀDDHA, the ancestors ascend straight to the heaven Rána decides of offer only that animal to the shades, during the ceremony of his father He asks Sita to get ready go to the Himalayas Ravaga tells him that the animal is not visible to human cyes and as such his going to the mountain would be in vain Rama pays no hecd to it Hc declares 'Himalaya will either show me the golden deer or get pierced by my arrows, like thc Krauñoa mountain by Skanda's shafts Ravana 3 intolerent of Rama's confidence, but creating an illusion of a dcer, in order to gnile away Rama exclaims aloud, 'Lo there! a golden deer is coming just thither' Rama asks Sita 10 instruct Laksmana to go and welcome the deer so kindly sent by Himavan Sita reminds him that Laksmana has been alrcady sent to meet the chief priest So Rama asks Sitá to wait on the ascetic and himself goes to get the decr Ravana is surprised at the bravery of Rama and observes - No wonder that the world 18 pervaded by this little word RAMA' The dect takes Råma to a grcal distanse and when Rama finds 11 dof possible 10 caich it alive he shools an arrow als But the deer escapes even that and enters a thicket Sira has her own misgivings and tries to go into the hul Ravana suddenly shows his real form and asks her to stay Sita 13 stricken with fear Ravana tells her that he is the great demon RIVANA come there to carry ber off by luring away ·| INTRODUCTION 33 Rama Sila criçs for help in vain Rayapa seizes her and carries her off Sita continues to cry for help Hearing ber cry, Jatayu comes and attacks Ravana Ravana threatens the bird that he will cut his wings and despatch him to the abode of Death Here ends Act V ACT VI - The Interlude to this Act shows two old ascetics describing the fight between Jatayu and Ravaga, and Jatayu's death at the end They go to inform Rama of this The Act proper takes us to the palace in Ayodhya where the chamberlain 11 just telling Vijaya that Sumantra has returned from bis forest journcy Bharata with malled hairs and clad in bark, comes on the scene presently and Sumpantra too arrives there through the golden gate Bharata asks Sumuntra if he could meet Rama, Sita and Laksmana in the forest Sumantra is observed in his own thougbus and remains silent Vijaya draws his attention to the question of Bharata Bharata observes that bis mind is wandering and asks him 'Sir could you not complete your journey?' How can I do so ? replies Sumantra Bharara puis a few more questions to him and gradually elicits from him the terrible news that Rama and Laksmana are in hiskindha, counting on the help of the monkey king Sugriva for making a search of Sura who has been abducted Bharata is unable to bear the shock and goes into a swoon After recovering, he goes with Sumantra to Kaikeyi's apartment and sends word to dher She comes out immediately and says to Bharata-'I hear Sumantra has come back after visiting Rama' 'I have more pleasant news for you than that' says Bharata "Then shall I scod for hausalya and Sumitra also”) asks haikeyr 'No They should not hear a' 'What can it be? Tell me, my son Bharata says to her-Listen Sita, wife of Rama who went to the forest at your bchesi, bas becq abducted away Are you satisfied ?" says she ·34 THE PRATIWA NATARA Kaikeyi simply exclaims-—'Humph!' Bharata goes on- 'The high souled Iksvakus took you first as a daughter in. law, as a result of which, they have now to suffer the abduc tion of another daughter-in-law (viz Sita) Kaikryi says 10 herself 'This is the right time to tell him and says to him aloud 'My son, you are not aware of the curse upon the great king' Bharata wonders.--"Was the great king cursed ?' Sumantra acquain's Bbasata of the cursc flung on Dasaratha by the blind sage when his only son was killed with an arrow shot by the king mistaking the sound of the filling of a pot with water for the gurgling noise of an clephant drinking water As a result of that curse it was inevitable that Dasaratha had to die of grief for his son Kaikeyi now explains ber past action The sage's curse could come to pa's only by the exile of the song It is therefore that I asked for Rama's exile and not out of lust for power Then why did you not ask for my cxile?' asks Bharata You were in your uncle's house, thus your banishment was quite in the natural course of events replies Kaikeyi Bharata pursues and asks --'Then, why did you specify fourteen years?' Kaikeyi readily answers--'I wished to say fourteen days, but being much disturbed in mind, I mentioned fourteen years' Bharata says--" There 18 cleverness enough for thorough conuderation Is all this known to the eldera! Sumantra answers this, saying 'Prince, Vasistha, Vamadeva and all others bave known and commended this' 'If so, I am glad Your majesty is not at all gulty,' - says Bharata with a decp sigh of relief and prostrates before his mother and begs her pardon for his earlier behaviour Kaikeyi says_'Will any mother not pardon the faults of her son? Do rise, my Bharata rises and expresses his determination to proceed with all the forces at his command, to the sea. shore, to assist Rāra in his fight with Rāvana for rescuing Sita At this stage, news is brought that Kausalya has son ·INTRODUCTION 35 On seeing swooned on heanng that Sita is abducted Bharata and Karkcyi go to comfort her ACT VII-The Interlude lo this Act takes us to a hermitage in Janastbaga where an ascetic is asking Nandiiaka to make best arrangements for receiving Rama, Sita, Vibbisana and all their followers Nandilaka says "Everything is ready, but But, wbat?' ask the ascetic Nandılaka says—'Vibhisana's followers cat men as food What to do for them?' 'Don't fear They implicitly obcy Vibhısana'-assures the ascetic, Very soon after this, Rama arrives with his party, at the hermitage The Act proper shows us Rama reflecting on the recent events Sita 13 talking to the wives of the sages Rama, a female ascetic says to Sita-'Here is your husband, go near him It is unbearable to stc you alone' Sita joins Rama Rama shows her the trees she had once planted there with her own hands Sita observes that they have grown tall He next takes ber ncar the Godavari river and recalls to her mind that it was while they were situing there that the Golden deer was seen Sita trembles with fear and says 'Pray, don't toention that' 'Do not worry That time is now over' says Rama comforting her At this stage a blast of concles supplemented by the peals of drums is heard Laksmana brings news that Bharata has come there with a huge army Sita observes 'Bharata has come at a desirable hour' Then enters Bharata with the orders Rama bows to every one of the mothers and embraccs Bharata very fondly The mothers greet him saying --'110 are all very happy on seeing you safe with your wiſe, your vow being over Bharata says 10 Rama-'Good brother, receive the responsibility of kingship Kaikcyt adds 'My boy, this is indeed a long-cherisbed desire' Satrughna enters and says to Rama, aſter formal greetings are over, that Vasistha, Vamadeva and the citizeos have made all ·36 THE PRATIMÄ NÄTAKA arrangements for Rama's consecration and are waiting for him Kaikeyi asks hıon to go and get consecrated Rama obcys After his consecration all felicitate hun Kaikeyi says- I wish to witness this auspicious function in Ayodhya' Rama assures ber that she will scent there also The Puspaka Vimana arrives there just then All asceod at 10 proceed to Ayodhya The play closes with the Bharatavakya 'Just as Rama is united with Janaki and his relatives, so also, united with Royal Glory, may our king govern the carth' samt 2 SOURCE AND DEVIATIONS THEREFROM The carliest authentic version of the story of Rama is undoubtedly the Ramayana of Valmıkı Hence it goes with out saying that Bhasa has drawn the material of his play from the epic source oniy But, as observed elsewhere already, Bhasa usually borrows only the broad outlines of hus stories from popular sources and invariably presents them in bu own way introducing a number of changes for the better In ihc Pratima-nataka also, Bhasa has done the Every one of the deviations from the original introduced by him in this play, has an important purpose to The change is either to improve the character of a particular individual or to remove an improbability or inconsistency in the popular version of the story For instance, Kaikey of the Ramīyana is at first very prous, good and noble minded It is only at the instigation of Manthara that she unexpectedly turns cruel, wicked and greedy She deraands the exile of Rama for whom she has till theo chce affection of a mother, and displeases her husband who dies in grief Such sudden changes in the nature of a person are not uncommon in this world But in those cases, the persone are sure to repent for, or at least reflect over their actions some times later on in their life, during sober serve ·INTRODUCTION 37 momenti In the Ramāyaga, however, we see the once good Kaikeyi turn bad, never to change back, not even la reflect on the past with remorse Is this not unnatural Does this not make one feel that Valmiki's treatment of Kaikeyi is not human-like? Such feelings as these probably $et Bhasa to sete}} ibe story in bus own way with suitable alıcrations Hc hates the idca of making Kaikeyi distribute the birch dress to Rama and Laksmana In the Ramāyaṇa, Kaikryi is prohibited from making Sita wear that dress So Bhāsa creates a dramatic environment and makes Sıca, Rama and Laksmana put on the bark garmcots In fact Sila is the first to wear that dress and it if just playfully The dramatic iroay here is admirable Poor Sita' she knows not that the birch she just puts on has to be her permanent dress for several years to come Again Valmiki has made Kaikeyi rush to the gate of the palace on the arrival of Bharata and cxult 10 telling him that Dasaratha is dead, Rama is exiled and he is king This makes anyone wonder 13 Kaikeyi has become a demoness all on a sudden But Bhasa's account is altogether different Bharata docs not enter Ayodhya at all He arrives at the chly gate in great haste, a bu too early than expected and hence is made to was there for an auspicious hour to enter To while away the liesure bc goes into the 'Statue House' ncarby, mustaking it for a temple There he finds four statues of the ex-kings of Ayodhya, inclusive of that of Dasaratha The keeper of the Statue House discloses to him Dasaratha's death, Rama s cxıle and Kaikeyi's greed Thereupon, Bharata goes into a swoon The queeos arrive there on a visit to the Statue House Bharata recovers and accuses his mother with several charges To our pleasant surprise Kaikeyi retains very calm The dignified way 10 which sbc coolly pockets all the charges hcaped upon her by Bharata Icaves a permanent impression on our minds A 6 ·38 THE PRATIUL NATALA contrast between the Kaikeyis of Valmiki and Bhasa aytona tically prescats itself before us The explanation Kaikeya offers later on in defence of her actions is sure to win our appreciation She refers to the curse on Dasaratha, who as a result of it, had to die of putra soka which might have mçant 'gref due to the deaſh of children Hence the wist muisters inclusive of Vasstha and Vamadeva, permit ted Kaikeyi to demand Răma's exile and laterfere with hig installation, just to cause a very mild type of putra soka to Dašaratha Her demanding the kingdom for Bharata was only to see that Dasaratha kepe the promise he had made to her father at the time of her marriage with him It was probably also to provide the country with a ruler during Rama's cxile Her intention was to exile Rärna fourleen days but, in her confusion due to a perturbed state of mind, she said 'fourteen vearg' It was a slip of the tongue None could avert DESTINY Thus cxplanation is quite appreciable Bharata feels gausfied and 19 happy that his mother is nol guilty of anything Just for ·INTRODUCTION 39 him to the forest, She, of her own accord, puls on the bark dress playfully, even before she knows anything of the exile of Rama; while in the Ramayana, she is shown as hesitating to put on that dress when offered by Kaikeyi and as being forbidden from wearing it by Dasaratha who orders that if she should go with Rima to the forest, she must take with ber plenty of silk garments and ornaments to wear. Obviously Bhasa has not liked the idea of Rama and Laksmana remaining clad in bark during their exile, while Rama's wife Sita, cager to share his joys and sorrows in every state of his life, has to be in a princess' dress evca while living an ascetic's life in the forest The change Bhasa has rncroduced even with regard to the goldeo deer cpusode, " also to nd it of certain inconsistencies and to copoble sita's character In the Ramayana, sita 15 shown as persuading Rama to get her the golden deer for which she takes a ſancy Rama asks Lakşmaņa to remain in the hermitage and to take care of Sita, and himself goes to catch the deer But why does Laksmaga, ever cager lo serve Rama in every matter, not offer to go to catch the deer himself? Or, could not have Rama himself asked Laksmaņa to fetch the deer, instead of his instructing bim to be vigilent at the hermitage as the demons were always walling for an opportunity to avenge there for baving insulted Surpanakha? Again #bea Mânca cried out the names of Sua and Laksmana in Rama's voice for help, could noi Rama also cry out to Sita or his brother and make them ur derstand that he was safe? Why should there be any occasion for Sita's uttering base and unworthy words to Laksmana whom she has known to intimately for a fairly long perioda Bhaja feels that the Ramavana account of the above episode is not at all appealing Hence be retells it in an original fashion Laksmana bas been seat away by Rama from the bermulage OD 2D important busigess at the ·INTRODUCTION 39 ho to the lorest She, of her own accord, puts on the bark dress playfully, even before she knows anything of the exile of Rama; while in the Ramayana, she is shown as besitating to put on that dress when offered by Kaikeyi and as being forbidden from wearing it by Dasaratha who orders that if she should go with Rima to the forest, she must take with her pienty of silf garments and ornaments to wear, Obviously Bhasa has not liked the idea of Rama and Laksmaņa remaining clad in bark during their exile, while Rama's wife Sita, eager to share his joys and sorrows in every state of his life, has to be in a princess' dress cvco while living an ascctic's life in the forest The change Bhasa has introduced even with regard to the golden deer cpuode, is also lo rd it of certain 29 consistencies and 10 cnooblc sita's character In the Ramayana, Sisa 15 shown as persuading Răma to get her the golden deer for which she takes a lancy Rama asks Lakemaņa to remain 10 the hermitage and to take care of Sild, and himself gocs to catch the deer But why does Laksmaga, ever cager to serve Rama in every matter, not offer to go to catch the deer himself? Or, could not have Rama himself asked Laksmana to fetch the decr, instead of his instructing bim to be vigilent at the hermitage as the demons were always waiting for an opportunity to avenge them for having insulied Surpanakha ? Again wben Marica cried out the names of Sua and Laksmana in Rama's voice for help, could not Rama also cry out to Sita or his brother and make bem ur derstand that he was safe? Why should there be any occasion for Sita's uitering base and unworthy words to Laksmana whom she has known so intimately for a fairly long period' Bhasa feels that the Ramayana account of the above episode is not at all appealing Hence be rccells 10 in an original fashion Laksmaqa has been sent away by Rāta from she besmisage OP AD ipporļast business at the ·58 THE PRATIMA MATARA contrast betweeo the Kaikeyis of Valmiki and Bhasa automa tically presents itsell before us The explanation Kaikeyi offers later op 10 deſence of her actions 1$ sure to win out appreciation She refers to the curse on Dasaratha, who as a result of it, had to die of putra soko which might have meant 'greſ due to the death of children' Hence the wist minners inclusive of Vagatha and Vamadeva, per ied Kaskeyi to demand Răma's exile and joerfere with hu Installation, just to cause a very mild type of pulid soka to Dasaratha Her demanding the kingdom for Bharara was only to see that Dasaratha kept the promise he had made to her father at the ume of her marriage with hun It wat probably also to provide the country with a ruler during Rama's cxil Her intention was to cxile Rama just for fourteen days, but, in het confusion due to a perturbed stale of toind, she said 'fourteen verry' Ie was a slip of the tongue None could avert DESTIVY This cxplanation is quire appreciable Bharata fcela satuled and is happy that hur mother or not guilty of anything ·INTRODUCTION 41 happy and desirable conclusion to the play, as Bharata, on Decling Rama there, reſuses to bave anything to do with the kingdom aoy longet, the stipulated period being over. Bhāsa creates a suitable cpviroament for this pleasant function all the same, by making every desirable person, the queen mothers, the citizens of Ayodbyā, the elderly priests and ministers, the sages' wives and the sages of the forest, the followers of Rama's new allies Sugriva and Vibhişana, and even the military force of Ayodhya, be prescot there to participate in the eventful function. Thus the changes, major as well as minor, made by Bhāsa in the popular Rama story are most original and charming; they rid the story of most of in deficiepcies and make it admirable and graad. 3 THE TITLE A remarkable feature of the plays of Bhāsa is their appropriate and significant titles. Every onc of the titles signifies cother the most striking feature, or the most impressive scene of the particular play. It is only in the case of (wo of his dramas (the Avimaraka and the Carudatta) that be names them in the most ordinary way after the heroes thercoſ. In the case of all the other plays, the names given them by Bhāsa are such that they often pake the readers wonder what their subject matter could be. Although Bhäsa draws the therocs of bis plays from popular sources, yet he invariably presents them in a novel and original fashion. Even after going through the complete play, one would be obliged to think that the author has drawo very litele from the original sources for his work. Thus the reader is not misled by the titles of his plays. The plays with novel titles furnish the reader with much novelty and originality in plot-construction, in the presentation of the qubject matter, in the development of the story and crca ia ·40 THE PRATIMA-NĀTAKA very outset By the Long after he has gone, Rama is seated with Sica chatting with her on the bank of the Godavall, when Ravana disguised as an asceur arrives and, the golden deer is brought on the scenc, Rama bimself and not Sita is tole rested in the deer as he is told by the ascetic that it would form a worthy offering to the shades of his ancestors during his father's ceremony the next day, Rama goes to catch the deer Icaving Sitá alone to wait on the ascctic, who abducts her away Thus according to Bhasa, Sita is Icast interested tn the golden deer She takes no fancy for it as lo the Ramayaņa to become responuble in a way for her own later sufferings Rāvaņa appears on the scence even before the golden deer Laksmaņa 19 not present Therefore Rama is obliged to go himself to secure the deer time he comes back, Sita is abducted away by the ascetic, whom neither Rama nor Sita suspected to bc Ravana, the demon king What a finc and admirable account Even with regard 10 pinor details, Bhasa docs pot adhere to the original story He makes Bharata refuse to enter Ayodhyā which is bereſt of Rawa and sends bird straight to the Curakuta from the Statue House In the Curakūta, when Bharata and Sumantra meet Rama, we are surprised to note that Rama is already aware of the news of bis father s death Bharata's sending Sumantra to get news relating to the welfare of Rama, dunng his stay in the Pañcavali, and his marching with all his army towards the sea-shore for the help of Rama to rescue Sua from Ravana, are fine original ideas of Bhasa io present to us a real picture of Bharata's good brotherly feeling and high-pindedness Jatayu is made to die soon after his momentous fight with Ravana, while the Ramayana account makes the poor bird live unul Rama comits there only to cause him think all of the dying bird The Abbiseka of Rama is rushed through in the Janasthana hermitage itself, thus giving a very ·INTRODUCTION 43 among these original and masterly creations of Bhasa in this parucular play, the Statue House Scene is the best It is sure to stand uppermost before our minds' cycs cven when we leave the theatre and come out after seeing the entire play chacted on the stage That is why Bhasa bas chosea to name his play after this particular Scene It must be noted here that it is in ibc Statuc House Scene that we see Kaikey for the first time in person and find that she is after all a very patient and for beariog lady Her flatement 'I will tell you everything in the night place at the right hour' makes the audiepce feel that she must have had her own reasons, and very strong reasons too, for actrag in the manner she had donc In fact the Sixth Act shows Kaikeyi a noble lady with not a toge of greed or fault of any kind what so ever If the play 15 examined thoroughly, it will be seen that Bhasa's main object in telling the story in the way he has done s in this play is two fold, viz (1) to depict Kaikcyı as a noble-minded lady wbo did what she did with the best of interests of every one in mind, and (2) to rid Siia of the one mistake she committed of accusing in base language Laksmana as having unworthy motives etc, wheb he refused to go on her words to the help of Rama who had gone chasing the golden deer No doubt Bhasa has achieved both his objects with great success The former and the more important of the two has beca partly achieved in the Statue House Seenc itself This is another reason why Bhasa has been partial to bus Scene in preference to the other ones TECHNICAL REMARKS The Pranima nātaka of Bbåsa does not stand the test of any of the rigid canons of dramaturgy, as the play was writien long before those canons were forced IVc cyen (81 10 cc any particular Rasa developed, which can be called 4 ·42 THE PRATIMA NAȚAKA characterisation Thus, iſ his PRATIJÑA 15 aſter the peculiar vows taken more than once by the hero Yangandharayana, the PATCARITRA after the five days-condition of Duryodhana which finally results in the complete avoiding of the Mahabharata war, his PRATIVÅ 1 afier the most original and picturesquc 'Statue House Scene' thercof lo almost every scene of the PRATIMA, there is some striking feature of other which 19 ably presented by the author The Valkala scene in the First Act, the soul stirring conversation between Dasaratha and Sumantra in the Second Act, the four grand statues of the Iksvaku rulers and Bharata's repeated hesitation to know the name of the fourth Statue (10 of Dasaratha), the hot talk between him and his mother Kaikeyi in the Statue Houst, his abrupt departure to the penatct groves of Rama straight way from there rcluring cven to enter Ayodhya,- incidents which leave a lasting 10- pression on the minds of the readers and the audience of the play, in the Third Act, Bharata s asking Sumantra, Sita and Laksmana to remain witnesses 10 the promisc made by Rama that he will take back his kingdom from Bharata al the end of fourteen years, in the Fourth Act, the most novel and natural circumstance in which Sui as abducted away by Ravana, in the Fifth Act, the way in which Bharata learns of Sita's abduction and the most convincing arguments of Kaikeyi to show that all her past actions were in the best of interests of all and Bharara's proceeding with all his army for Rama's help, in the Sixth Act, and Bharata's sectiog Rāma in the Janasthana where he has just balted to visit the Bages on his reluin journey with Sita and others to Ayodhyā, Bharara's retunding the kingdom la Rame, and also Ratha's coronation then and there, as the fourteen years are just over, in the Seventh Act,- all these, nay, every one of these is an admirable creation of Bhasa, sure to be appreciated by the audience The readers will agree with us when we say that ·INTRODUCTION 45 with Sita His love for Sita 13 so great that he is at first Upw s]ling to allow her to follow hin) to the forest as it would mcan a great hardship for her, but, being unable to wound the sincere feclings of his dear wife he takes her with him. He is extremely miscrable during his separation from Slea after she is abducted au ay by Ravaga, and is very happy when reunited and consecrated with her Rama must have fele highly delighted to hear Ravana's observation regarding himself as 'famous in this world as the husband of Sila', He is a noble-minded prince Being fully aware that Dasaratha had promised to consecrarc Kaikeyi s son cven when he married her, Rama is very unwilling to be crowned by humn He conscats reluctantly to it, only when Dasaratha conjures him by his life But, when the intended coronation 13 slopped, he becomes extremely happy and feels as if a great burden is liſted off his mind He has a high regard for elders Even when he sees that hss facher it breaking his promisc by arranging for his coro nation instead of Bharata's, he does not find fault with Dasa. ratha's action Again when the Chamberlain accuses Kaikeyi of g «ed, hc objecis to it and says that an elderly person wall never do an unworthy act He gocs still further and asserts that Ka keyi's action must be for some future good His devotion to his father and his feadiness to act as per the wishes of cren his step-moorber Kaikeyi are remarkable On merely hearing that Kaikeyi has demanded from Dasaratha Rama's exile in lieu of a boon granted by bim some time before, Rama al opce Prepares to proceed to dwell 10 the forests When he hears ibat Dasaratha is on his way to bim to see him brfore departing for the woods, he fears that Dasaratha may once again think of acting contrary to his words to Kaikeyi in hu excessive foodness for bio and prevent him by some means or other from going into exile So, in bis cagerness to see that by father was truthful 7 ·THE PRATIMA-NATAKA the principal sentiment of the play 7 he Karunarasa 1 predominant only in the 2nd and 3rd Acts, while in the Other Acts there is a mixture of different sentiments at different stages of the plot The play appears to be a patch-work as the incidents of the earlier Acts do not lead to the gradual development The second Act is altogether superfluous and may well be dropped without interfering with the develop ment of the plot Rama 1$ a Dharmapira and the principal hero of the play Bharala » the Palaka nayaka re friend of she principal hero He is 5 THE CHARACTERS MRAMA The character of Rama has been delincated Temarkably wib skilful touches by the author arckery stage of the development of the plot in this play Rama is presented here not as a god but as an ordinary man who is a loving husband an adcal prince, a true and affectionate son a truthloving hero, a fond brother and a sincere friend of all The very first picture of Rama we have is as a loving husband of Sila, His conversation wab Sita throughout the play is pregnant with intense love and sincerity proud of his wife and exclaims that "Couples are rarely crc ated with dispositions so alike" as himself and Sita He tells Sila when she 19 an bark-dress that half his body has been already clad in 11 Hus holding the mirror for Siva's putting on her ornaments reveals the intensity of his love for her He is always cager to share his joys and sorrows with his wife Sila That is why, when his intended coronation by his father as abruptly popped, he goes straight 10 Sita's apartment to tell her first all about k Agais while so Pancavari, when he is worried as to how he should perform the death anpiversary day of his father, he diecusses the patter freely ·INTRODUCTION 45 with Sita His love for Sita 18 so great that he is at first unwilling 10 allow her to follow him to the forest as it would mean a great hardship for her, but, being unable to wound the sincerc fcclings of his dear wife he takes her with his He is extremely miserable during his separation from Sita after she is abducted away by Ravana, and is very happy when reunited and consecrated with her Rama must have fele highly delighted to hear Ravana's observation regarding himself as 'famous in this world as the husband of Sila'. He is a noble-pinded prince Being fully aware that Dasaratha had promised to consecrare Kaikcya s son cven when he married her, Rama is very unwilling to be crowned by him He consents reluctantly to 16, only when Das'aracha conjures him by his life But, when the intended coronation 15 stopped, he becomes extremely happy and feels as sf a great burden is lifted off his mind He has a high regard for elders Even when be sees that his father 11 breaking his promisc by arranging for his coro nation instead of Bharata's, he does not find fault with Das'a. ratha's action Agarn when the Chamberlain accuses Kaikeyi of geed, he objects to it and says that an elderly person will never do an unworthy act He goes still further and asserts that Kaikeyi's action must be for some future good His devotion to his father and his readiness to act as per the wishes of even his scp mother haikeyi are remarkable On merely hearing that Kaikeyi has demanded from Das'araiba Rama's exile in lieu of a boon granted by bim some time before, Rama at once prepares to proceed to dwell in the forests When he hears that Dasaratha is on his way to him to see him before departing for the woods, he ſcars that Dasaratha may once again think of acting contrary to his words to Kaikeyi in hu excessive fondness for him and prevent him by some means or other from going into ezile So, in hu eagerness to see that his father remains truthful 7 ·46 THE PRATIMĀ NĀTAKA to his promics, Rama hurriedly goes away from Ayodhya with his wife and brother, although it pains him sorely to leave his aged father abruptly when he 19 in a precarious condition Such is his sense of duty He is not at all ambitious Although Bharata requests hud sncerely at the Curakura to accept the kingdom,- Bharata had every right to offer st to any one then,-Rama refuses 10 If he agrees to accept it after hu exile is ended, 1us because Bharata would not accept to govern it even during the term of his cxilc on any other condition Ruma's affection for bis brothers is very great His atutude towards Laksmana has become proverbial. The names of Rama and Laksmaņa are menuoned to this day as an example of ideal brothers Rama's asking Site to go and ftceive Bharata on his arrival at the Curakuta shows hus tender affection for him His own treatment of Bharata on that very oecasion is quite full of love and understanding The kind and hearty reception he offers to the pseudo ascouc Ravana, the frank discussion he holds with him and the implicit faith he reposes in his words regardtag the deer with golden flanks, show his magnanimous simplicity Нs statement 'A kingdoms should not be reglecied even for a moment, while asking Bharata to return za Ayodhya from the Curakuta, gives out the key for the success and prose perity of aoy kingdom His descripuon of the bark garment as 'an armour for the battle of penance, a goad to the elephant of religious vows, a bridle for the horses of inc senses, and a charioteer leading to religious duty, has a very deep meaning like the Upanishadic sayings His words "Time produces ups and downs' to Sita, in reply to her observation that the plants she formerly watered by bending down bave become trees which are to be seen by looking up, remain an eternal truth His proud remark that Bharata amassed in a day so much of glory to carn which he himself had to take the whole - ·INTRODUCTION 47 L of his life-time when Bharata begged for hys sandals which he intended 10 install on the throne in licu of Rama, 13 simply admirable His pleasing personality, his ever cheerful counlenance, his amiable manners, his charming gentleness and his magnanimous nobility can never fail to win for him the admiravon of one and all An ideal man in every respect as he was, It is no wonder that his subjects, friends and relatives, all alike, held him in high esteem BHARATAZ The most outstanding ſeature of Bharata's character is his love, revcrcnce and loyalty for his clder brother Rama In no way docs hc fall short of Laksmaga in the matter of his brotherly love and sincere cagerness 10 serve Rama Bharata's love for Rama 15 $0 great that it eclipses all his other qualities He is shocked to learn that his own mother scnt Rama into cxile and caused the death of Dasaratha Although by nature Bharata has great regard for all elders inclusive of his mother, the above news makes him feel ashamed of his mother and at the same time enkindles bis anger He goes to the extent of disowning Kaikeyi as his mother, saying that he is going to crtablish a new doctrine in the world that a mother ought to be drowned if she proves freacherous to her husband (111 18) Berng a man of quick decision and immediate acuron, he refuses to get crowned and al ooce proceeds to the forest where Rama is dwelling, saying-'Ayodhya, wahout Råma, is no Ayodhya That w Ayodhya, wbere Rama lives Although a person of firma delermination, as bc cannot but remain obedient to Rama, he allows himeelf to be persuaded by Rama to return to Ayodhyā and govern the kingdom But, hc lays a condition that Rama should cccept the realm back after the term of his exile, and makes Rama agree to it in the presence of witnesses His loyal suur i Rao is my family reseste water te bereit ·48 THE PRATIM NATAKA Rama to grant him his sandals so that he may enthronc theo in lieu of Ráma and be their representative during Ramas extle Rama rightly observes that Bharala aglassed on that occasion the glory which he himseil could cata so laboriously in all his life-time There is no trace of ambition or avarice in Bharata's character He refuses to be the king of the kingdom wlicb Xi mother had secured for him He is a strict votary of Dharma and hence is very pamicular that Rama alone, the cldest son of his father should becomt king He can never reconcile himself to the idea that he is the heir to the throne and nat Rama His words to Rama, while agreeing to govern the kingdom during his crile, 'मम हस्ते निक्षित तय राज्य चतुर्दावर्ग ते प्रतिग्रहीतुमिच्छामि' are very ngnificant He is a man of his own ways He us guided by his owo conscience and none else He is very obedient to his ciders only when he finds that they are not on the wrong Thaf 19 why when Vaglatha and Vamadeva ask him to under 50 his coronadon, he stubbornly refuses to obcy them, although just a few hours ago when a Bhala brought to him a message Irom the satse Vasissha that he should enter Ayodhyk after the Rohigistar had set in, he had said 99157779fa7-2T• 979" I he same as the reason for the different atitudes te bas towards Kaikeyi in the Statue House at first and later on in the Sixth Act alter hearing her explanation regarding her part action on the carlier occagon, he dislikes, nay, hates hajkryt, because he thinks that she has committed a great ctiale in reilu & Rama and causng the death of her own husband Bus farer on.-on heaning from Sumanira and karkeys all about the cutic on Dasaratha and how she was abled to act in the way she had acted in the best of interests of all, -- when he is convinced that Ka keyi is not at all guilty of any thing. he reports for his past uncivil atestude towards ber and immediately apologises to her ·TRODUCTION 49 He has a high sense of family pride The news of Sita's bduction is sbocking to him and causes his swooning, ccause, he thinks it is the first stain on the stainless family of 35 brought about by Kaikeyi by unnecessarily sending na and her busband to the woods Being a man of impulses, c gocs straight to Kaikeyi's aparımcol with Sumantra who mply wonders why be is going there The strain in which e speaks to Kaikeyi there and particularly his statement हन्त भो , मत्वयुक्तानामिश्वाकू गा मनस्विनाम्। धूप्रवर्षण प्राप्त प्राप्यानभवती YA' reveals how sorely painful it is for him to see that bis amily name is stained He is proud of berog the brother of aksmana who has been especially lucky 10 remaining in kama's service cvca during hr cxile He always identifics 1$ interests with those of his family and Rama His narching with a huge army towards Lanka to help Rama in cscuing Sua, is worthy of his touching devotion to Rama Hit word 'उपोपविम्य प्रवेशव्यानि नगराणीति सत्ममुगाचार' on uis antival at the out-skirts of Ayodhya, show his regard for radional practices Although he feels that the Statues in he Statue House look like those of men and not of gods, ull he is inclined to offer his obeisance to them as he thinks hat he will be failing in his duty otherwise His high efficiency as a ruler, his self abnegation, his family pride and his sincere love and devotion to Rama are very well put forib in an effective language by Sumantra 1-'दैत्य द्रमानमयनस्य नृपस्य युग्म यज्ञोपयुक्त विभवस्य नृपस्य गांव । माता पितु प्रियकरम्य जगत्रियस्य रामस्य राममहशेन पथा प्रयाति ॥ LAKSMANA- In Rama's words Laksmana is 'an ocean of fotistude' He is always very calm and considerale He has implicit faith in Ráma His obed cncc to Rama in any and cycry matics is remarkable He never docs any ting os. bis Qun vsud, seed or bad He sccki Rama, & wten he says - ·50 THE PRATIMA MATARA permission eved to bring Bharata to his hut, on the latter's arrival at the Citrakuta On an earlier occasion, although he was determined to Tid the world of all young women, he required Rama's permission for doing so Like Bbarata, Laksmana also idenufies bus interests with those of Rama Laksmaga even denies to himself all personal happiness and follows Rama to the forests as daya right follows the Sun Of course, his services to Rama throughout his life are admirable His love and devotion to Rama are so great that all other qualities of his fall into the back ground Although 'an ocean of fortitude as already observed, he loses control over himself when he sees that his Rama is asked to under. go exile Loss of kingdom to Rama is pothing to him But exile to Rama s unthinkable So he grows wild on Kaikeyi, and not on Dasaratha, as it was she who demanded from Dasaratha the exile of Rama It is in his wild anger on Kaikeyi that he hastily and foolishly resolves to kill all young women on the face of the earth Ooce he is calmed, he regaias his sobriety and becomes a polite and sincere companion of Rama Laksmana is equally devoted to Sita The pleasing chemence with which he pleads with Ráma for allowing Sita to follow him into the forest is admirablc His attitude towards Bharata, his younger brother in this play, is also remarkable The blessing be pronounces on him at the Cherakusa is full of brotherly feeling His love for his father, mother or wiſe, is completely eclipsed by his excessive love for Rima In one word, he u the personification of sincere and derp brotherly love DASARATHA - Dasaratha is a great king with an ima poging personality He is a Mfaharathi and an ally of lodra He is plour and noble-minded, but he becomes a picy to his ows promises to bis wife Kaikeyi He dies of ·50160 INTRODUCTION 51 putra foka as an atonement for the sio of having killed in his youthful days the only son of a sage mistaking him for an clephant His love for Rama, his eldest son, is boundless The grcat interest ho takes in arranging for Rama's coronation, bus scaung Rama,--the grown up prince, on his lap and persuading him to undergo coronation, and his shedding tcars of joy on the beachcad of the obedient Rama show hus excessive fondness for Rama He cannot bear the separation of Rama from him When Rama is exiled, he dies broken hearted He has a remarkable gift for graphic description His comparing Rama's departure to the setting of the Sun, Laksmana's and Sita's following Rama to the disappearance of both day-light and shadow after sunset, is appropriate and touching His pathetic lamentations after Rama's departure ( Ace 11 ) cffectively move the heare of any one His love for Spea, Laksmaza and also Bharata, is sincere and great But this love is over shadowed by bus love for Rama which 19 uppermost in him, as be is his eldest son and is endowed with exemplary qualities He loves all his wives equally It is only after Karkcyi's demanding for Rama's exile as the grant of one of his boons to her, that he dislikes her and wishes that she was born a tigress in some forest Although Dasaratha is seen on the stage only for a short while, he leaves a deep impression on our minds by means of his great personality, clear imagination excessive fondness for Rama, and deep concern for the safety of Sila particularly during her forest life RAVANA-Ravaga behaves like an ordinary buman beog although be us a demon He is a mighty king and a terror to all gods and demons alike He is a real hero in ag much us ht uptueets the midstress and the drified ·52 THE PRATIMI NATAKA ascelic voice of his enemy Rama He does not however tolerate the confidence of Rama jo his own ability through penance or wcapon to make the Himalaya show him the golden deer (Act V) No doubt Ravana fully recognises the heroic powers of Rama That is why he resorts to cheat him 10 wreak hus vengeance on him for killing Khara Hc docs not seem to have persuaded Marica to appear as a golden deer berare Sita or Rama, for, as the story itself is altered very much in this play, he might have created an illusion of a deer to Jure Rama away He casily changes his owo appearance and ably puts on the disguise of a Brahmin Hc poses to be well versed in almost all Sastras, 10 suit his disguise He is very clever and resourceful as can be seen from his conversation with Rama in the Fifth Act He is very ipiteful and proud of his past achievemen's Hus challenge to Rama that he way show bi valour if he is confident of his heroic powers, 3 very significant SUMANTRA-Sumantra is one of Dasaratha's trusted ministers and a charioteer enjoying the confidence of every member of the royal family The queens and the princes are quite familiar with him and address him 'Father'. Hc lakes perconal interest in every affair of the king and has family and it earnest in the discharge of any duty that is entrusted to him Being an aged person he curses hus long 1.fc as he 14 made by it to witnees several calamites such as che king's death, Rama's exile, Sui's abduction and so on. He has the gift of vivid description The manner in which he relate to Das'aratha that Rama, Sita and Laksmapa did not send any message to him from the foresti u very touching He is marked for his wudom and probity The princes always look to him for proper guidance in every marter He does not approve of Bharata's calling himself 'the atain of the Ikevaku family' He advises Bharata not to describe himself as the son of greedy hateyl,' as at ·INTRODUCTION 53 would mean disrespect of an elder He ſeels freshly grieved cvcry-tiroc he is reminded of Dasaratha's death His descrbing himself as the charioteer of an empty chariot is very pathetic One remarkable ibing about him is that whenever he does a thing, small or big, be ocver fails to impressie with the stamp of his individuality KAIKEYIL There is a world of difference between che Kaikeyi of the Ramayaga and the Kaikeyi of the Pralmanataka If thc former is cruel greedy and selfish, the latter 11 kind, noble and self sacrificing In the Rama yaga, Valmiki has brought about a sudden change in the nature of Kaikeyi Having first shown her to be full of motherly love and fondoess for Rama, he makes her change at the insegation of Maotbara so much from good to bad that it is impossible to believe that she was once really good Bhara's treatment of Kastevi is consistent from the begin. ning to the end, she is a lofty-minded woman Her behaviour is no doubt viewed differently at first by different persons Thus, ber demanding for Bharata's coropation makes tbc Kancukiva characterise her as a greedy woman Her asking for Rama's exile makes Laksmaga think that she is a cruel woman and rouxs his anger so much that, og ber account, hc makes up his mind to red the world of all young women. Her causing the death of Dasaratha by exiliog Rama makes Bharata feel that she has b-en treacherous to ber own husband Her stopping the consecration of Rima makes the people have nothing but contempt for her. Her demaods make Dasaratha hate her and wish that she was born a ugress in some fores! Bo! Rama, with his implet fasth 10 all elders that they will never do any unworthy act, vehemcntly argues with the Kañcukiya and points out how Kaikeyi should pot be called greedy for askiog for Bharata's coronation, as tbe kingdom was promised to her son crea when Dasaratha barned her. He asserts that if Kaikeyi 8 ·54 THE PRATIMA NATA had done anything, it was only for some future good whi she had in mind We actually see her in the Statue house scene for first time There, when Bharata simply flings a volley insults and accusations on her we are surprised to find ! very calm and composed Without any protest whatsocut she patiently bears all that Her one and only reply Bharata, after addressing him fondly as her dear son, she will tell him every thing at the right place and hou makes us feel that she must have had very good reasons i acting in the manner she bad acted and that she cannot a bad woman When we meet her again in the Sixth A we are pleasantly surprised to find that our estimation her character is not at all wrong In the said Act, Bhara who is shocked to hear the terrible news of the abduction Suta goes with Sumantra straight to Karkcyi and accus her as responuble for that calamily which was a stain the spotless family of the Iksviku kings Kaikeyi ava herself of this opportunity to explain to her son the actu circumstances that had forced her to cause Rama's exi Her explanation, endorsed by Sumantra as quic truc, co vinces Bharata to an except But, when she gives reai answers to his other questions relating to the long term exile impo ed on Rama and not demanding his own cxil and finally when Sumantra states that all that Kaikeyi ha done was known and agreeable to such elderly well wishe of the royal family as Vasstha and Vamadeva, Bharata fully convinced that his own mother 19 guilty of pothu and feels highly satufied We cannot but notice th: Bharata does not ask ber on this occasion why she ha demanded for his own coronation Kaikeyi too docs not dwe on this point here, although in the earlier Statue hou scenc Bharata had vehemently argued with her when al gave a half satisfactory reply saying that 'hus consecratic ·INTRODUCTION 55 1 was demanded not by her, but by him --meaning her father who was interested in stipulating it as the bridal fee Now, at any rate, we see that although she could have remained indifferent towards the payment of that bridal ſce to her, it was in her hands to demand for it or not, she did well in asking for it, because, the kingdom would have becn kingless during Rama s exile otherwise The customary practice 1s to nominate the next bere before the king's death occurs or is announced at least 'Long live the king The king is dead' at the usual way of announcing the death of the old king, the first king so she announcement referring to the successor of the deceased onc Thus, she bad donc much good, although as a tool in the hands of destiny, to Dadaratha, her husband, she had caused only a very mild type of putra soka, she had averted the premature death of Dasaratha s sons, and she had provided the country with a king during the exile of Rama Her frank con fession to Bharata that she intended to impose on Rama only a fourteen days' exile, but uttered in her confusion fourteen years is appealing After all she was a woman accomplishing a great task which required plenty of courage and firmness of mind Her own widow hood was glaringly visible before hes She herself had to give an inpeIui font Yet she did all that with the best interests of all in her mind, in the most creditable manner possible Her indt viduality and the great qualities that mark out for leadership must have impressed the great sters, Vāmadeva and Vanstha, when they entrusted her with such a great task We cannot miss to mark her sincere and deep affection for Råma Her words to Räma persuading him to accept the kingdom, - 'Arifa fon 77 galet' - show that she was yearning for at vince long and are in consonance with our observation abose regarding her object in demanding for Bharata : kingship Whep Rima undergoci abhiseka at ·56 THE PRATIMA-NĀTAKA the Janasthana an obed encc to her wish, Kaikeyi fecis higbly satisfied Here telling Rama soon after that, fai arafe इममभ्युदयमयोध्याया प्रेक्षितमिच्छामि' reveals her true motherly affection for Rapa Her sisterly fccling for Kausalya and Sumitra is admirable When Bharata says to her that he has more pleasant news for her than that of Suroantra's rccura from the peoance groves of Rama,--Karkeyi docs not note the sarcastic tone of Bharata,-sbc 18 eager to send for Kausalya and Sumitra also, because she sincercly wishes that they should not miss to hear any good news relating to Rama at thc carlicst opportunity Thus the Kaikeyi of this play as a lofty minded virtuous queen marked for her individually and greatness SITĀ - Sitá of the Prasma-Dacaka 19 & process with a gracelul simplicity which is rarely found in the case of women belonging to any royal family In the Abhisekas nataka she is more than once referred to as & goddess , but in this play, from the beginning to the end, she is shown as just a human being but with such adrorrable qualities that clevared her to the high position of becoming the ideal of Every Hindu woman from her owo days to the present time. She is also different from the site of the Ramayana, for, the changes in the plot of the play as prescated by Bhasa give no orcasion for Sita's accusing Laksmaga as having unworthy motives etc when he first refused to go on her words to the help of RÅDa who had gont chasing the golden dter Thus $itá of this play 1 A lady who 13 consistently good and noble from beginning to end The most outstanding quality in Sitā is her uniqne feeling of oneness with her husband Rāma She has studied (the) mind of Rama well and adopts ber's to his, such that there may be a very pleasant harmony between the two also able to think and act on the same lacs as of Rama Hence, it is no wonder that I Ama takes her as one half of hu She 13 ·INTRODUCTION 57 own self and tells her that 'rarely are couples born with Datures go alike' Her observation that she is glad that the stopping of the coronation of her husband made him continue to be hes lord exclusively, thrills Ruma with joy, as he too bad alrcady felt more or less similarly-'fora Cafe A महाराज एव महाराज । When Rama 13 worried about the manner in which he has to celebrate the annual ceremony of his father the next day,-- while in Pancavati, just on the eve of Sita's abduction,Sita's noticing that her husband Is worried by merely looking at his face, her sitting by his side lovingly and trying to cheer him up with her sweet words and smiling countenance are simply admirable She is like a lamp in darkness to Rama Rama knows that He is fully aware that his wife is always capable of giving him expert guidance With the ambition of proving a truc and worthy wife of Rama Sita shares with him all his joys and sorrows, his prosperity and adversily, and triumphs and failures, she thinks, feels and even bchaves like Rama and indentifies herself with him completely in everytbing Hence we are much pleased to note that Rama himself characterises her as hs अवस्थाकुटाम्पनी । Being a strong minded woman with plenty of control over herself Sita is always successful so suppressiog her No doubt she is agitated in mind to sec Laksmana with a bow in his hand determined to nd the world of all young women She is equally grieved when Sumanıra reminds Rama of Dasaratha's death But on both the occasions she does not show out her own feelings on the other hand, her observations 'रोदितव्ये काले सौमित्रिणा धनुर्गहीतम्' with regard to Laksmana's foolish behaviour, and 'ETATE. 99 gift ideala a' to Sumantra's weeping, function as correctives to the concerned persons Thus Sumitras. characterising Sica 4s 147137711 is really own emotions ·58 THE PRATIMA NI TAXA Sita's observation ça clat and while advising the Cetu to return the bark garment brought away by stealth although for fun, shows how good and pure minded she is Her unassuming simplicity in allowing cven the servants of the palace to move with her with casy familiarity cannot but impress on our minds Her moving on terms of equal familiarity with the ascetic won cn who are utterly ignorant of wealth in the Janasthana and endcaring herself so much to them that they call her Janaki', 'child', 'my dear' etc, according to their ages is quite characteristic of Sita Her womanly curiosity is revealed when she wishes to know how she will look in bark-garments She is very much pleased to hear from Avadatika and thc Cett that she looks quite beautiful in any dress Her apprehending danger from the proudo ascctic Ravana when Ráma goca alter the golden drer and her getting frightened at Råma's reference to the golden dece even after the destruction of Ravaga thaw her feminine weakness which is characteristic of the majority of Hindu women Sità is very kind hcarled and ever ready to do her best for making others happy Thus she pleads with Ráma sa her own winning way, to allow Laksmaga to follow them to the forests and to grant Bharata his first request (AITEM 8497 4ra 173 A 445476 4777!) She has a very warm affecuon for Bharata and Lakşmaqe She is eager to retain Bharata in the forest with them for sometime at least and feels disappointed when he is asked by Róma to return to Ayodhya the very day he had come there respect and love for Das'aratha makes her eagerly ask forfa 911 ?? the moment she is informed that Rima 18 going to be consecrated Her not saying a word about Karleyl although 10 much was being argued for and against Kaiteyi . Riced in her own presence by the Kalculiya, and her words Her great ·INTRODUCTION 59 "Vany things happco in courts show how she is always conscious of her own limitations Thus the character of Sita is highly noble and flawless Her simplicity is graceful 1 he sweetness of her disposition 15 charming Her affection for Bharata and Laksmana 19 warm with motherly feelings Her revereanal love for Dasa. ratha 13 sincerc Her devotion to her husband with whom she always idenufies herself is admirable. The easy famiharity with which she moves with persons devoid of wealth or high social status i impre33740 In one word, every onc of the qualities of the virtuous and noble minded Sita is highly praiscworthy and deacrves to be an ideal for every Woman KAUSALYT-Kausalya appears on the stage only twice, once while attending on the grief stricken Dasaratha and a second time in the Statue-house scenc She is a faith. ful wife of Dasaratha, loving him dearly to the last Her love for her son Rama is equally warm She is as deeply grieved as Das'ataiba when Ratga is exiled She would have probably thought of going to the forest with Rama, but her dury cowards her own busbaod detained her at home when Dasaratha, who has lost the power of his cye sight, bis end having come ncar, asks he who she is, her reply to him is, '1, the marber of an unloved son' Her grief 13 80 much that she altogether forgets that ber words may make ber beloved husband miserable With the help of Sumitra, Lakstaga's mother, sbc personally allends on Das'araiba fondly and 10 all carnestress Her coalorçiog words to Da s'aracha, Although she bersell 11 weeping while uttering them, that Sita and the two princes are going to be seen soon after the term of exile is over, show her cagerness in seeing that Das'a ratha's life » saved somehow or otber It is very significant that she says not a single word, good or bad, about Kaikeyi la thc Statuc house scene, ter words pronounced as a ·60 THẺ PRATIMẮ-NATAKA full of sincerity. blessing on Bharata -My son, be without any anguish' are She bas known the mentality of Bharata and has correctly guessed that he must be very much worried mentally at his mother's conduct. But Bharata apprars to take them amiss as he feels that he has been chided by her thereby But Kausalya's good feeling towards him is clearly accn when she advises him a little later to bow down to his mother at least for the sake of ctiquetre. She is rightly compared by Bharata to the great and holy river Ganges- SUMITRĀ_Sumitrā, mother of Laksmana, is the second wife of Dasaratha She is Dobie-minded and never shows out her feelings Her characterising ska as avant la paitar and asking Sumantra particularly about Sita's message to them, shows how deep she loves Sitã She loves her husband with all her heart and joins Kausalya in attending on him personally, The bleasing she coofers on Bharara in the Statue-houge scene '7aarft va' looks as though she is just suggesting to him the future coursc of achion he should adopt Bharata catches ber point and answers' argrafasa' i Although she is given only a back scat in the two scepcs she appears, she shows herself a dutiful and loving wiſe of Dasaratha, with plenty of the fond and deep love of a mother towards the princes and Sita, wees ·॥ श्रीः ॥ मामकवि-विरचित ॥ प्रतिमा-नाटकम् ॥ . 1(नान्यन्ते ततः प्रविशति सूत्रधारः) सूत्रधारः-सीताभवः पातु सुमन्त्रतुष्टः सुग्रीवरामः सहलक्ष्मणश्च । यो रावणार्यप्रतिमन देव्या - विमीपणात्मा भरतोऽनुसर्गम् ।। १ ।। (नेपथ्यामिमुग्वमवलोक्य) आर्ये, इतस्तावत् ।। (प्रविश्य) नटी-आर्य, इयमस्मि । [अय्य, अहिा।] सूबधार:-आयें, इममेवेदानीं शरत्कालमधिकृत्य गीयतां तावत् । " नटी-आर्य, तथा । [अय्य, तह । ] (गायति) सूत्रधार-अस्मिन् हि काले, 'चरति पुलिनेषु हंसी.काशांशुकवासिनी मुसंहृष्टां । (नेपये) आर्य ! आर्य ! [अय्य ! अध्य!] " (आमे) सूत्रधारः-- भवतुं, विज्ञातम् । मुदिता नरेन्द्रभवने त्वरिता प्रतिहाररसीव ॥२॥ (निष्क्रान्ती) ८ . 11 स्थापना ·प्रतिमानाटके 13 15 (प्रविश्य) प्रतिहारी-आर्य, क इह काञ्चुकीपाना सनिहित ! [अग्य, को इह कञ्चुईआण सणिण हिदो १] " (पयिश्य) काञ्चुकीयः-भवति, अयमस्मि । कि क्रियताम् । प्रतिहारी-आर्य, महाराजो देवासुरसमामेष्यप्रतिहतमहारथो दशरथ आज्ञापयति-'शीघ्रं भर्तृदारकस्य रामस्य राज्यप्रभावसयोग कारका अभिपेकसभारा आनीयन्ताम्' इति । [अय, महाराओ देवासुर संगामेस अप्पडिहदमहारहो नमरहो आगवाद-'सिग्ध भट्रिनगरअस्स रामस्स रजप्पहारमोअकारआ अहिसेभसम्भारा आणीअन्तु' ति।] काञ्चुकीयः भवति, यदाज्ञप्त महाराजेन तत्सब सङ्कल्पितम् । 16 पश्य- 17 stion 19 छत्र सव्यजन सनन्दिपटह भद्रासनं कल्पितं न्यस्ता हेममयाः सदर्भकुसुमास्तीर्थाम्बुपूर्णा घटाः । युक्तः पुष्यरथश्च मन्त्रिसहिताः पौराः समभ्यागताः सर्वस्यास्य हि मङ्गलं स भगवान् वेद्यां वसिष्टः स्थितः ॥३॥ 19 प्रतिहारी-यद्येव, शोभन कृतम् । [जइ एन, सोहण विद] काञ्चुकीयः-हन्त भो। इदांनी भूमिपालेन कृतकृत्याः कृताः प्रजाः। रामाभिधानं मेदिन्यां शगाङ्कमभिपिञ्चता ॥ ४ ॥ प्रतिहारी -त्वरता त्वरतामिदानीमा । [नुपरदु तुबर दाणिं अय्यो] काञ्चुकीयः--भवति, इदं त्वते । (निफ्रात) प्रतिहारी ---(परिक्रम्यावाक्य) आई सभवक ! संभवका गच्छ। त्वमपि महाराजवचनेनापुरोहित यधोपचारेण वस्य । (अ यतो गत्या) पारसिके, सारसिके ! सङ्गीतशाला गवा नाटकीयाना विज्ञापय- 90 22 ·प्रथमोऽङ्कः 3 25 'कालमवादिना नाटोन सजा मयन' इति । यावदहमपि सर्व कृतमिति महाराजाय निवेदयानि । [श्रय सभवन, समवय गच्छ । नुपि महा- राप्रवाणेग अय्यपुरोहिद बोपारण तुबारेहि। सारसिए, मारनिए । मदीद- माळ गनिनाईभण विष्णवेहि-'काठमवादिणा णादरण मदा होहे' त्ति। जाप अदवि मत्र्य किट ति महागअस्म गिवेदेमि।] (निष्क्रान्ता) " (तन प्रविमति अपनातिका बनवलं गृहीला) अबदातिका-अहो अत्याहितम् ! परिहासेनापीम वल्कल- मुपनान्त्या ममनावदयमासीन्, कि पुनर्लोमन परधनं हन्त ? हसितु- मिरेच्छामि । न खलु एकाकिन्या हसितव्यम् । [अहो अच्चाहिद ! परि- हासेग पि हम वक अन्तीए मम एत्तिा मा आमी, किं पुश टोमेश परपण हग्न्तस्म । हतिदु विज इच्छामि । ण खुएआइणीए हमिदव्यं] 9 (तत प्रविशति सीता सपरिवारा). " मीता-हल्ले, अहानिका परिशङ्कितवर्णेव दृश्यते । किन्नु खल्लु वैनन् १ [ने, ओदादिमा परिमविदवा पित्र दिस्सइ । किंगु हु विपद] चेटी-महिनि, मुलभापगधः परिजनो नाम अपगद्धा भविष्यति ।। [भहिगि, मुहारादो परिअणी गाम । अपरझा भविस्मदि " मीता-नहि नहिः हसितुमिवेच्छति । [हि गहि, सिंदु विश्र इच्छदि।] ३१ अंटातिका--(उपसत्य) जयतु महिनी ! मट्टिनि, न खलु अहमपगडा । [जैट मटिगी ! मट्टिशि, ण गु अहं अपरा।] मीता-या त्या पृच्छति । अपदातिके, किमेतद् वामहस्त- परिगृहीतम् । ना तुम पुच्चटि १ थोटादिए, किं एद वामहत्यपरिगहिदं!] अबढातिका--भट्टिनि, इदं वल्कलम् । [मट्टिगि, इदं वक्छं ।] मीना-चाल कम्मादानीतम् । वक किस्म आणीद'] 23 1 - 11 ·प्रथमोऽ: 5 B . 5) चेटी-नास्ति वाचा प्रयोजनम् । इमानि प्रपितानि तनूरहाणि मन्त्रयन्ते । [णथि वायाए पोणं । इमे पहरिसिदा तणूव्हा मन्तेन्ति।] (पुलकं दर्धयति) 'सीता--हजे, आदर्श तावदानय। हिम्ने, आदमयं दाव आणेहि] चेटी-यट्टिन्यानापयति । (निष्क्रम्य, प्रविश्य) भट्टिनि, अयमादर्शः । [ज महिणी आणवेटि । मट्टिणि, म आदमो।] ""सीता-(चेयमुग्मं विलोक्य) तिष्ठतु तावदादर्शः। त्वं किमपि वक्तुकामेव : [तिहदु दाव आदंसवो। नुवं कि वि यानुकामा पिस?] चेटी-मट्टिनि, एवं मया श्रुतम् । आर्यबालाकिः कञ्चुकी भणति-अभिषेकोऽमिषेक' इति । भट्टिणि, एव्यं मएं मुदं । अय्यबाळाई भणादि-अहिंसेओ महिसेभो' ति।] ..... " सीता-कोऽपि मता राज्ये भविष्यति । की वि भट्टा रजे मतिसहि।] (प्रवियोपर) चेटी-~महिनि, प्रियाख्यानिक, प्रियाख्यानिकम् ! भटिणि, पिअयागिअं, पिअक्तागिभ ! सीता--किं किं प्रतीप्य मन्त्रयसे? [कि किं पडिच्छिा मन्वेसि !] "चेटी-भर्तदारकः किलाभिपिच्यते ! [मष्टिदारओ किछ अहिनिश्चीअदि!] * सीता-अपि तात: कुशली ? [अवि तादो कुसली ?] चेटी-महाराजेनैवामिपिच्यते । [महाराएण एव अदिसिञ्चीअदि] सीता-यथेवे, द्वितीयं मे प्रियं श्रुतम्। विशालतरमुत्सझं कुरु। नइ एव्यं, दुदीअं में निभं सुदं । निसानदरं उच्छ करहि 1] बेटी-महिनि, तया । भिट्रिगि, तह 1] " (चेटी तया क्रोति । सीता भामरणान्यवमुच्य ददाति ।) 53 56 " 59 , ·4 प्रतिमानाटके 1 86 अवदातिका-शृणोतु भट्टिनी । नेपथ्यपालिन्यायरेवा निवृत्त रङ्गप्रयोजनमशोकवृक्षम्पैकं किसलयमम्मामिर्याचितासीत् । न च तया दत्तम् । ततोऽहत्यपराध इतीदं गृहीतम् । [सुणादु भरिणी । णेवच्छपालिनी अय्यरेया गिबुत्तरङ्गप्पओअण असोअरुक्खस्स एक्के किसळ अहोहि जाइला आसि । ण म ताए दिण्ण । तदो अरिहदि अवराहो ति इद गहिद । ] 35 सीता-पापक कृतम् ! गच्छ निर्यातय । [पाय विद । गच्छ णिय्यादेहि ।] अवदातिका-भटिनि, परिहासनिमितं खलु मयैतदानीतम् । भिष्टिशि, परिहासणिमित्त तु मए एद आणीद ।। मीता--उन्मत्तिके, एवं दोपो वर्धते । गच्छ, निर्यातय निर्यातय। [उ मत्तिए, एर टोसो बहुइ गच्छ, णिरयादेहि णियादेहि ! " अरदातिका—यटिन्याज्ञापयति । [ज भट्टिणी आणवेदि। ] (मस्सातुमिच्छति) सीता-~~-हला, एहि तावत् । [हळा, एहि दाव।। अवदातिका-भटिनि, इयमस्मि । [भरिणि, अमि । " सीता-हला, किन्नु खलु ममापि तावत् शोभते ! [हरा, किंणु खु मम विदाय सोहदि।] अपदातिका-भटिनि, सर्वशोभनीय मुरूपं नाम | अलासेतु भट्टिनी 1 [भहिणि, सम्बसारणीभ मुख्य णाम १ अळारोदु भरिगी। ] "सीता-आनय तावत् । (गृहीत्वा न्य) इला, पश्य; फिमि. दानीं शोभते । [आहि दावा हळा, पेकस,कि दागि सोहादि। " अवदातिमा-तर बलु शोभते नाम ! सौवर्णिकमिव बनकर • संवृतम् । तिय पुगोहदि गान मोरगिभं निभ यशवं संयुत्तम्।] सीता-हजे, त्वं मिचिन भणसि! [ये, तुमिति ण मगम 9g " 49 " ·5 । प्रथमोऽ चेटी-नास्ति वाचा प्रयोजनम् । इमानि प्रहपितानि तनूरुहाणि मन्त्रयन्ते। [गस्थि वाआए पोअणं । इमे पहरिसिदा तणूरहा मन्तेन्ति।) (पुलकं दर्शयति) ":सीता-हजे, आदर्श तावदानय । [हजे, आदसमंदाव आणेहि) चेटी-बहिन्याज्ञापयति । (निष्कम्य, प्रविश्य) भट्टिनि, अयमादर्शः । [ज भट्टिणी आगवेदि । मट्टिणि अअं आदंसओ।] "सीता-चेटीमुवं विलोक्य) तिष्ठतु तावदादर्शः। त्वं किमपि वक्तुकामेव ! [तिदु दाव आदंसवो। तुयं कि वि वत्तुकामा विभ?] चेटी-भट्टिनि,. एवं मया श्रुतम् । आर्यबालाकिः कञ्चुकी भणति-अभिषेकोऽभिषेक' इति । भट्टिणि, एव्यं. मएं सुदं । अग्यमालाई भणादि-'अहिसेओ अहिसेओ' ति।] सीता-कोऽपि मर्ती राज्ये भविष्यति । .[को वि भहा रज्जे भविस्सदि।] " (पविश्यापरा) चेटी-महिनि, प्रियाख्यानिकं, प्रियाख्यानिकम् ! भटिणि, पिअक्खाणिों, पिअक्खाणिों ! • B3 सीता-किं किं प्रतीप्य मन्त्रयसे: किं किं पडिच्छिम मन्तेसि!] चेटी-भर्तृदारकः किलाभिपिच्यते ! (भरिदारभो किळ अहिंसिञ्चीअदि !] सीता-अपि तात: कुशली : [अवि तादो कुसली ?] चटी-महाराजेनैवाभिषिच्यते । [महायएण एवं अदिसिञ्चीअदि] सीता-यद्येवं, द्वितीयं मे प्रियं श्रुतम्। विशालतरमुत्सङ्गं कुरु । {जई एवं, दुदीअं मे पिअं सुदं । विसाळदरं उच्छ करहि।] चेटी-भट्टिनि, तथा । [भटिणि, तह।] (चेटी तथा करोति । सीता आमरणान्यवमुच्य ददाति।) 3." 51 I B6 27 ७ ·6 69 61 63 - 61 6 प्रतिमानाटके चेटी-भट्टिनि, पटहशन्द इव । [भष्टिणि, पडहसब्दो मिश्र] सीता---स एव । सो एच ७ चेटी-एस्पदे अवघटिततूप्णीक पटहशब्द सवृत्त । [एकपदे ओषष्ठिअतुढीओ पंडहसदो सवुत्तो।] सीता–को नु खलुद्धातोऽभिषेक्स्य ! अथवा बहुवृत्तान्तानि राजकुलानि नाम । [+ णु खु उपादो अहिंसेअस्म ! अहवा वह युत्ता ताणि राअउद्याणि णाम। ] चेटी-भटिनि, एव मया श्रुत, ''भर्तृदारक्ममिपिच्य महा राजो बन गमिप्यति' इति । [भरिणि, एव्व मए मुद-भट्टिनारअ अहि मिश्चिम महाराओ वण गमिस्सदि' ति] सीता-यानं, न तदभिपेफोदक, मुमोदक नाम | रह एब्व, ण सा अहिसेओदओ, मुहोदअ णाम।] ७ (तत प्रविशति राम) रामः-हन्त भो । " आरब्धे पटहे स्थिते गुरजने भद्रासने लहिते सन्धोचारणनम्यमानपदनप्रन्योतितोये घटे । राजाहूय विमर्जिते मयि जनो घेर्येण में निमितः बः पुत्रः उस्ते पितुर्यदि वचः कम्तन भी पिण्य.॥ 'पिरम्यतामिदानी पुनि स्वर राम रिमनितम्यापनीतमारो-गिा मिव मे मन । दिष्टया म पानि राम, महारान एव महारान यारदिदानी मधिरी पक्ष्यामि । " अपदानिया-भट्रिनि, मदार बबागच्छनि । नापनीने वल्करम् ! [भाटिल भरि गरमा तु आभच्छा । गाणी या 61 - ·7 TI . प्रथमोऽङ्कः रामः-मैथिलि, किमास्यते ! ' मीता-हं आपुत्रः । (उन्याय) जयत्वार्यपुत्रः, हिं अय्यउत्त । (उत्थाय) जेदु अय्यउत्तो।] रामः- मैथिलि, आस्यताम् । (उपविवाति) " मीता-बदार्यपुन आज्ञापयति । [जं अव्य उत्तो भागादि। (उपविधति) ' अवदातिका-भटिनि, स एव मदारकस्य वेपः । अलीक- मिवैनद्भवेत् । [भटिणि सो एच मट्टिटारअस्स सो1 अधिपित्रएटं] मीता-तादृशो जनोऽलीकं न मन्त्रयते । अथवा अनुवृतान्तानि गजकुलानि नाम ! तादिमी जणो अलिअंण मन्तेदि । अहवा बहुगुत्तन्नागि गश्यमन।1 76 ·8 प्रतिमानाटके 83 65 68 89 9 दिग्ध णिस्ससिभ महाराभस्म पादमूळेसु पडिअंति। ] रामः-मुठु तर्किनम् । (अल्पं तुल्यशीलानि द्वन्द्वानि सृज्यन्ते। तत्र हि पादयोरस्मि पतित । समं वाष्पेण पतता तस्योपरि ममाप्यधः। पितुर्मे क्लेदितौ प्रादौ ममापि क्लेदितं शिरः ॥६॥ सीता-ततस्तत । तदो नदो।] रामः--ततोऽप्रतिगृह्यमाणेप्वनुनयेषु आसन्नजरादोपैः स्वै प्राणैरसि गापित.. सीता-ततस्ततः । [तदो तदो।] रामः-ततम्तदानी. शत्रुघ्नलक्ष्मणगृहीतघटेऽभिपेके छत्रे स्वयं नृपतिना रुदता गृही। संभ्रान्तया किमपि मन्थरया च कर्णे राशः शनैरभिहितं च न चास्मि राजा ||७|| सीता-नि मे महाराज एव महाराजः ! आर्यपुत्र एव आर्यपुत्रः [पिअ मे । महाराओ एम्ब महागओ ! अय्यउत्तो एव अय्यउनो] रामः--मेथिलि, किमर्थ विमुक्तालंकारासि! " सीता-न म्बलु तावदावन्नामि 1 [ग खु दाब आयशामि।] रामः-- खलु । प्रत्यमावतारित पण वितन्यम् । तथा हि- " की त्वरापहृतभूपणभुमपाशी संसंसिताभरणगौरतलीच हस्ती । एतानि चाभरणमारनतानि गात्रे म्यानानि नैव समतामुपयान्ति तावत् ॥८॥ PO 1 -

·(2)
प्रथमोऽङ्कः
.
96
97
93
99
100
सीता--पारयत्यार्यपुत्रोऽलीकमपि सत्यमिव मन्त्रयितुम् ।
[पारेदि अय्यउत्तो अळिअ पि मचं विअ मन्तेदु []
रामः- तेन हि अलंक्रियताम् । अहमादर्श धारयिष्ये ।
(तथा कुत्ला निर्वण्य).
" आदर्श वल्कलानीव किमेते सूर्यरश्मयः ।
हसितेन परिवात क्रीडेयं नियमस्पृहा ।।९।।
अवदातिके, किमेतत् !
अवदातिका भर्तः, किन्नु खलु शोभते न गोभते इति
कौतूहलेनाबद्धानि। भिटा, पिण्णु हु मोहदि ण सोहदि त्ति कोदूहळेण आवा]
रामः--मैथिलि, किमिदम् ! इक्ष्याणां वृद्धालकारस्त्वया
धार्यते ! अस्त्यसाकं प्रीतिः । आनय ।
• सीता --मा खलु मा खल्वार्यपुत्रोऽमहलं मणतु ।
[मा सु मा खु अय्यउत्तो अमङ्गळं भगादु।]
रामः-मैथिलि, किमर्थ वारयसि !
103 सीता---उज्झिताभिषेकस्पार्यपुत्रस्यामालमिव में प्रतिभानि ।
उदिादाहिसे अस्म अप्यउत्तरम,अमगळं विभ में पडिहादि।
राम:--मा स्वयं मन्युमुत्पाद परिहासे विशेषतः ।
शरीरान में पूर्वमाषद्धा हि यदा त्वया ॥१०॥
1ts (नेपथ्य) हा, हा महाराजः ।
सीता-आर्यपुत्र, किमेतत् ! [अय्यउत्त, कि एदं 1]
101
102
,
2010
13
in
रामः--(आकये)
नारीयां पुरुषाणां च निर्मादो यदा चनिः ।
मुव्यक्तं प्रभवामीति मूले देवेन ताडितम् ॥११॥

·10 प्रतिमानाटके . 3 110 111 -महाराजः । 112 113 IN 116 तूर्ण ज्ञायता शब्दः । 100 (प्रविश्य) काञ्चुकीयः---परित्रायता, परित्रायतां कुमारः। रामः-आर्य, कः परित्रातव्यः । काञ्चुकीयः- रामः-महाराज इति ? आर्य, ननु वक्तचमेकशरीरसंक्षिप्ता पृथिवी रक्षितव्येति ? अंथ कुत उत्पन्नीयं दोषः ? काञ्चुकीयः-- स्वजनात् । रामः-वजनादिति । हन्त नाम्ति प्रतीकारः ! शरीरेऽरिः प्रहरति हृदये स्वजनस्तथा । कस्य खजनशब्दो मे लजामुत्पादयिष्यति ॥१२॥ काञ्चुकीयः- --तत्र भवत्याः कैकेय्याः । 'रामः-किमन्यायाः ? तेन हि उदर्केण गुणेनात्र भवितव्यम् । काञ्चुकीयः---कथमिव ! रामः-शृयताम् । यस्याः शक्रसमो भर्ता मया पुत्रवती च या। फले कस्मिन् स्पृहा तस्या येनाकार्य करिप्पति ।।१३।। 1 काञ्चुकीयः-कुमार, अलमुपहतामु स्त्रीवृद्धिा स्वमार्जच- पनिशेप्तुम् । तस्या एव म्वनु वचनाद्भवदभिषेको निवृत्तः । रामः-आर्य, गुणाः खल्वन । काञ्चुकीयः-~-कथमिव ! रामः-श्रूयताम् । यनगमननिवृत्तिः पार्थियस्यैव तावत् मम पितृपरवत्ता बालभावस्स एव ।। 117 12) 121 13 ·11 126 197 18 123 131 प्रथमोऽङ्कः नवनृपतिविमर्श नास्ति शड्डा प्रजानाम् अथ च न परिभोगैञ्चिता भ्रातरो मे ॥१४॥ काञ्चुकीयः-अथ च तयानाइतोपमृतया भरतोऽभिषिच्यता राज्य इत्युक्तम् । अत्राप्यलोमः ! रामः-आर्य, भवान् खल्वमत्पक्षपातादेव नार्थमवेक्षते । कुतः, " शुल्के विपणितं राज्यं पुत्रार्थे यदि याच्यते । (तस्या लोभोत्र नाम्मार्क भ्रातृराज्यापहारिणाम्॥१५॥ काञ्चुकीयः-अथ- राम:--अत. परं न मातु परिवादं श्रोतुमिच्छामि | महाराजस्य वृत्तान्तस्तावदभिधीयताम् । ist काञ्चुकीयः-ततस्तदानी, शोकादवचनाद् राज्ञा हस्तेनैव विसर्जितः । किमप्यमिमतं मन्ये मोहं च नृपतिर्गतः ॥१६॥ 13 रामः--कथं मोहमुपगतः । 134 (नेपथ्ये) कथं कथं मोहमुपगत इति ? यदि न सहसे राजो मोहं धनुः स्पृश मा दया रामा-(आवण्यं पुरतो विलोक्य) अक्षोभ्यः क्षोभितः केन लक्ष्मणो धैर्यसागरः । येन रुटेन पश्यामि शताकीर्णमिवाग्रतः ॥१७॥ 17 (ततः प्रविशति धनुचोणपाणिलश्मशः) लक्ष्मण:--(सग्रोधम् ) कथं, कथं मोहमुपगत इति ? यदि न सहसे राज्ञो मोहं धनुः स्पृश मा दया खजननिभृतः सोप्येवं मृदुः परिभूयते । 139 135 138 130 ·12 प्रतिमानाटके 111 अथ न रुचितं मुञ्च त्वं मामहं कृतनिश्चयो युवतिरहितं लोकं कर्तुं यतश्छलिता वयम् ॥१८॥ सीता--आर्यपुत्र, रोदितव्ये काले सौमित्रिणा धनुर्गृहीतम् ! अपूर्वः खल्वस्यायासः ! [अय्यउत, रोदिदव्वे काळे सोमित्तिणा धणू गहीदं ! अपुन्वो खु से आभासो) रामः-सुमित्रामातः, किमिदम् ! लक्ष्मणः----कथं, कथं, किमिदं नाम ! 1 क्रमप्राप्त हृते राज्ये भुवि शोच्यासने नृपे । इदानीमपि संदेहः किं क्षमा निर्मनस्थिता ॥१९॥ रामः-सुमित्रामातः, अन्नद्राज्यमंशो भवत उद्योग जनयति । आः ! अपण्डितः खलु भवान् ! भरतो या भवेद्राजा वयं वा ननु तत् समम् । यदि तेऽस्ति धनुःश्लाघा स राजा परिपाल्यताम् ।। लक्ष्मण: न शक्नोमि रोपं धारयितुम् । भवतु, भवनु । गच्छामस्तावत् । (मन्धितः) H 115 118 - 169 . R.C .त्रैलोक्यं दग्धुकामेव ललाटपुटसंस्थिता । भृकुटिलक्ष्मणस्यैपा नियतीय व्यवस्थिता ॥२१॥ मुमित्रामातः, इतम्तावत् । लक्ष्मणः---आर्य, अयमलि। रामः- भवतः स्थर्यमुत्पादयता मर्यवमभिहितम् । उन्यताम् इदानीम् । 15" ·13 . 151 11 155 प्रथमोऽङ्कः ताते धनुर्नमपि सत्यमवेक्षमाणे ? मुञ्चानि मातरि शरं खधनं हरन्त्याम् ? दोषेषु बाह्यमनुभं भरतं हमानि-? . कि रोपणाय रुचिरं त्रिपु पातकं ॥२२॥ लक्ष्मणः :-(सपाष्पम्) हा धिक् ! अस्मान् अविज्ञायोपालभसे ! 13 यत्कृते महति क्लेशे राज्ये मे न मनोरथः । 'वर्षाणि किल यस्तव्यं चतुर्दश वने त्वया ॥२३॥ रामः अत्र मोहमुपगतस्तत्रभवान् ! हन्त ! निवेदितम- प्रभुत्वम् । मैथिलि, मङ्गलार्थेऽनया दत्तान् वल्कलांस्तावदानय । करोम्यन्यैनधर्म नैबाप्त नोपपादितम् ॥२४॥ 188 सीता-गृहात्वार्यपुत्रः । [गहदु अन्यउत्तो।] रामः- मैथिलि, किं व्यवसितम् । 15% सीता--ननु सहधर्मचारिणी खल्वहम् ? [] मधम्मारिणी क्यु अहं !] रामः-मयकाकिना किल गन्तव्यम् ? 27 सीता--अतो नु खल्वनुगच्छामि। [अटी णु खु अपुगच्छामि।] रामः-बने बलु वस्तव्यम् ! 12 मीता-तत् खलु मे प्रासादः । [तं सु मे पामादी । रामः-श्वश्रूधशुरशुश्रूपापि च ते निर्वर्तयितव्या ? मीता-एतामुद्दिश्य देवतानां प्रणामः क्रियते! 157 152 161 ht . न मषि, नमतु ·14 प्रतिमानाटके. 183 [णं उद्दिसिभ देयाग पणामो करोअदि।] रामः-रक्षाम, वार्यतामियन् । लक्ष्मणः-आर्य, नोत्सहे श्लाघनीये काले वारयितुमत्र- 168 . भवतीम् । कुतः 167 . अनुचरति शशाई गहुदोपेऽपि तारा पतति च वनवृक्षे याति भूमि लता च । त्यजति न च करेणुः पद्धलमं गजेन्द्र बजतु चरतु धर्म भईनाथा हि नार्यः ॥२५॥ 15. (प्रविश्य) चेटी-जयतु भट्टिनी ! नेपथ्यपालिन्यायरेया प्रणम्य विनापयनि--'अमदानिकया सङ्गीतशालाया आच्छिद्य बल्सरा आनीनाः । इमेऽपरा अननुभूता बल्कलाः । निर्व्यतो तावन् सिल प्रयोजनम् ' इति । [जंदु महिणी ! णेवच्छपारिणी अध्यरा पनि पिण्णवेदि-'भोगादिभार गहीदगालादो आच्छिन्दिभ या भगी। मा अपरा अदा पर 11 गिम्यतीभ दाय फिळ पीभगति रामः-भटे, आनय; सन्तुष्टेपा । ययमर्थिन. । भता गहनु मा(तथा शानिधान्ता) (गर्मा ग्रहीया परिपत्ते) लक्ष्मणः-प्रसीदन्यायः! " नियोगाद् भृपणान्माल्या सौम्पोध प्रदाय में। परिमेकाफिना पदं पीरे सत्यमि मत्सरी ॥२६॥ . गमः-मैथिलि, यार्यतामयम् । सीना-मामित्र, निम्नां किल ! [निगे, मिनि सक्ष्मणः-- आदे, चटी-गृदातु ·प्रथमोऽ 15 16 173 1.9 गुरोमें पादशुश्रूपां त्वमेका कर्तुमिच्छसि । तवैव दक्षिणः पादो मम सव्यो भविष्यति ॥२७|| 11 सीता-दयां खत्वार्यपुत्र । सन्तप्यते सौमित्रिः । दीअदु खु अय्य उत्तो। मन्तप्पदि सोमिती !] रामः-सौमित्रे, श्रूयताम् । वल्कलानि नाम तपःसङ्ग्रामकवचं नियमद्विरदाइशः। . खलीनमिन्द्रियावानां गृह्यतां धर्मसारथिः ॥२८॥ लक्ष्मणः-अनुगृहीतोऽस्मि । (गृहीत्वा परिवत्ते) राम:-श्रुतवृत्तान्तैः पोरैः सन्निरुदो राजमार्गः । उत्साय- नामुत्सार्यतां तावन् । लक्ष्मणः--आर्य, अहमग्रतो यास्यामि । उत्सार्यताम् , 130 131 उत्मार्यताम् । 115 15 रामः-मैथिलि, अपनीयतामवगुण्टनम् । " सीता-यदार्यपुत्र अनापयति । [ज अय्यउत्तो आगवेदि।] (अपनयति) रामः-भो भोः पौराः शृण्वन्तु शृण्वन्तु भवन्तः! स्वैरं हि पश्यन्तु कलवमेतद् वाप्पाफुलावेदनर्भयन्तः । निदोपट्या हि भवन्ति नार्यो यज्ञे विवाहेव्यमने बने च।। 1% (प्रपिस्य) कान्चुकीयः: कुमार, न खलु, न खलु गन्तव्यम् । एए हि महाराजः, श्रुत्वा ते वनगमनं वधूसहायं सौभ्रात्रव्यवसितलक्ष्मणानुयात्रम् । .

·16 प्रतिमान्गटके 199 उत्थाय क्षितितलरेणुरूपिताङ्गः कान्तारद्विरद इवोपयाति जीर्णः ॥३०॥ लक्ष्मणः-आर्य, चीरमात्रोत्तरीयाणां किं दृश्यं वनवासिनाम् । रामः-गतेष्वस्मासु राजा नः शिरःस्थानानि पश्यतु ।। (इति निष्क्रान्ता सर्वे) इति प्रथमोऽङ्कः 190 . 1 ।। अथ द्वितीयोऽङ्कः ।। (सत प्रविशति कान्बुलीय.) काञ्चुकीयः-भो भो. प्रतिहारल्यामृता.! स्वेपु म्वेषु म्यानेष्य- प्रमत्ता भवन्तु भवन्तः। . (प्रविश्य) प्रतिहारी-आर्य, विमेतत् ! [अग्य, कि एद । ] काञ्चुकीयः-एए हि महाराजः सत्यपचनरक्षणपरं राममरण्य गच्छन्तमुपावर्तयितुमशक्त पुत्रविरहशोकामिना दग्धहदय उन्मत्त इव बहु प्रलपन् समुद्रगृह के शयानः मस्थलनिय युगक्षयसनिकर्षे शोपं नजन्निव महोदधिरप्रमेयः। सूर्यः पतनि च भण्डलमात्रलक्ष्यः शोकाद् भृशं शिथिलदेहमतिर्नरेन्द्रः ॥१॥ प्रतिहारी -हा हा एवंगतो महाराजः! [हा हा एवंगी महाराओ] काञ्चुकीयः-~-मवति, गच्छ। 6 ·17 7 8 (3) द्वितीयोऽङ्कः प्रतिहारी-आर्य, तथा । [अय्य, तह । ] (नितान्ता) काञ्चुकीयः-(सर्वतो विलोक्य) अहो तु खनु रामनिर्गमन- दिनादारभ्य शून्यैवेयमयोध्या संलक्ष्यते ! कुतः ' नागेन्द्रा यवसामिलापविमुखाः सास्रेक्षणा वाजिनो हेपाशून्यमुखाः सवृद्धवनिताबालाश्च पौरा जनाः । त्यक्ताहारकथाः सुदीनबदनाः क्रन्दन्त उच्चैर्दिशा रामो याति यया सदारसहजस्तामेव पश्यन्त्यमी ।।२।। यावदहमपि महाराजस्य समीपवर्ती भविष्यामि । (परिक्रम्यावलोक्य) अये, अयं महाराजो महादेव्या सुमित्रया च सुदुःसहमपि पुत्रविरह- समुद्भवं शोकं निगृह्यात्मानमेव संस्थापयन्तीभ्यामन्यास्यमानस्तिष्ठति । कष्टा खल्ववस्था वर्तते । एप एप महाराजः! पतत्युत्थाय चोत्याय हा हेत्युचैलपन मुहुः । दिशं पश्यति तामेव यया यातो रघूहहः ॥३॥ (निकान्तः). "मिश्रविष्कम्भकः 10 7 11 13 13 11 (ततः प्रविशति ययानिट्रिो राजा देव्यौ च) राजा---*हा वत्स! राम! जगतां नयनाभिराम ! हा वत्स लक्ष्मण ! सलक्षणसर्वगात्र ! हा साधि मैथिलि ! पतिस्थितचित्तवृत्ते ! हा हा गताः फिल वनं बत मे तनूजाः॥४॥ हा राम ! लोकग्रहणाभिराम ! हा लक्ष्मण 'भ्राता लक्ष्मीभूत ! दहा सयि येदि ' कुलपोप' हा सिरप, गममाप्रमष्ट । * ·द्वितीयोऽ: 19 १७ राजा-का त्वं भोः ! कौसल्या-अस्मिन्धपुत्रप्रसविनी खल्वहम् [असिणिद्धपुत्तप्पसविणी खुबह 1] राजा-कि कि सर्वजनहृदयनयनामिरामस्य रामस्य जननी त्वमसि कौसल्या ? कौसल्या- -महाराज, सैव मन्दभागिनी खल्वहम् ! [महाराअ, सा एज्य मन्दभाइणी खु अहं ! ] राजा-कौसल्ये, सारवती खल्वसि । त्वया हि खलु रामो 97 गर्भ धृतः। 23 ........ .] अहं हि दुःसमत्यन्तमसा ज्वलनोपमम् । नैव सोढुं न संहर्तुं शक्नोमि मुपितेन्द्रियः ॥९॥ ३० (सुमित्रा विलोक्य) इयमपरा का ! "कौसल्या-महाराज, वत्स लक्ष्मण... [महाराभ, वच्छ स्करण ... (इत्यघोक्ते) राजा- -(सहसोन्याय) कासौ क्सौ लक्ष्मणः ! न मते ! भोः कप्टम् ! 13 (देन्यो सर्वभ्रममुत्थाय राजानमवलम्बते) " कोमल्या-महाराज, वत्सलक्ष्मणम्य जननी सुमिवेति वस्तुं मयोपकान्तम्। [महाराभ, वच्छ कपणरसजगणी मुमित्तत्तिवतु मए उपचन्द] राजा-अयि सुमित्र, " तवैव पुनः मत्पुनो येन नक्तन्दिवं वने । रामो रघुकुलश्रेष्ठश्छाययेयानुगम्पते ॥१०॥ 31 (प्रविश्य) काञ्चुकीयः-जयतु महाराजः ! एप खलु तत्र- भवान् सुमन्त्र. प्राप्तः। 35 ·18 प्रतिमानाटके 15 16 4 17 19 19 " चित्रमिद भी 1 यत्रातृस्नेहात् पितरि विमुक्तनेहमपि तावल्लक्ष्मा दष्टुमिच्छामि । वधु, वैदेहि ! "रामेणापि परित्यक्तो लक्ष्मणेन च गर्हितः अयशोभाजनं लोके परित्यक्तस्त्वयाप्यहम् ॥५॥ पुन राम, वत्स लक्ष्मण, वधु वैदेहि, प्रयच्छत मे प्रतिवच पुत्रका ! शून्यमिदं भो । न मे कश्चित् प्रतिवचन प्रयच्छति कौसल्यामात , कासि। सत्यसन्ध ! जितक्रोध ! विमत्मर ! जगत्प्रिय ! गुरुशुश्रपणे युक्त ! प्रतिमाक्यं प्रयच्छ मे ।।६।। हा कासौ सर्नजनहृदयनयनामिरामो शम 'कामौ मयि गुर गृत्ति । बासौ शोकार्तेप्चनुकम्पा बासौ तृणवदगणितगज्यैश्चर्य । पु राम, वृद्ध पितरं मा परित्यज्य क्रिमसम्बद्धन धर्मेण ते कृत्यम् धिक् ! कष्टं मो! " सूर्य इब गतो रामः सूर्य दिनम हय लक्ष्मणोऽनुगतः । : सूर्यदिवमावसाने छायेर न दृश्यते सीता ॥७॥ (ऊर्वमवलोक्य) भो कृतान्तहता ! अनपत्या वयं रामः पुनोन्यस महीपतेः । १५ वने व्याघी च कैकेयी त्वया कि न तं प्रयम् ।।८। कोमल्या-(सरुदितम् ) अरमिदाना महारानोऽतिमान सनष् परवगमात्मानं कर्तुम् । ननु सा तो च कुमारी महाराजस्स ममयावमा प्रक्षितच्या भविष्यन्ति । [भळ दाणि मशाभा अमित्त रा नप्पि परा अता गदग सा ते म कुमार मण समारमाणे बिगदान भविम्मति!] ह । 22 1 ·द्वितीयोऽङ्कः 419 9 95 राजा-का त्वं मोः? कौसल्या अनिन्धपुत्रप्रमविनी खल्वहम् । असिणिद्धपुत्तप्पसविणी खु अह । ] राजा-किं कि मर्वजनहृदयनयनामिरामस्य रामस्य जननी वमसि कौसल्या! "कौसल्या-महाराज, सैव मन्दमागिनी खल्वहम् ! महाराअ, सा एप मन्दमाइणी खु अहं !] राजा-कौसल्ये, सारवती खल्वसि । त्वया हि खलु रामो 21 गर्भ घृतः। 97 31 ........ 32 " अहं हि दुःखमत्यन्तमसी ज्वलनोपमम् । नैव सोढुं न संहर्तुं शक्नोमि मुपितेन्द्रियः ।।९।। 31 (मुमिया विलोक्य) इयमपरा का? कौसल्या-महाराज, वत्स लक्ष्मण.. [महाराअ, वच्छ लक्षण ....] (इन्योक्ते) राजा-महसोत्याय) कासौ कसौ लक्ष्मणः । न दृश्यते : भोः कष्टम् ! " (देन्यौ मुतंभ्रममुत्याय राजानमवलम्वेते) " कोमल्या-महाराज, वत्सलक्ष्मणम्य जननी मुमित्रेति वस्तुं मोपक्रान्तमा महारान, वच्छळवम्यगरसजगणीसुमित्तचिवस्तु मए उयकन्दं] राजा-अयि सुमित्र, " तवैव पुत्रः मत्पुत्रो येन नक्तन्दिवं वने । रामो रघुकुलश्रेष्ठश्छाययवानुगम्यते ॥१०॥ " (प्रविश्य) काञ्चुकीयः-जयतु महाराजः ! एप खलु तत्र- भवान् सुमन्त्रः प्राप्तः । 25 .

·20 प्रतिमानायके 33 39 10 12 . राजा--(सहसोत्याय सहपम् ) अपि रामेण । काञ्चुकीयः- न खलु । रथेन । राजा--कथ की रथेन केवलेन ? (इति मूति पतति देव्यो-महाराज, समाधसिहि, समाश्वसिहि । [महाराश्र, समस्म सिहि, समस्स सिहि । ] (गात्राणि परामशत) काञ्चुकीयः~मो कष्टम् ! ईदृग्विधा पुरुषविशेषा ईदृशी- मापदं प्राप्नुवन्तीति निधिरनतिक्रमणीय | महाराज, समाश्वसिहि समाश्वसिहि । राजा-(किञ्चित् समावस्य) बालाके, सुमन्त्र एक एव ननु प्राप्त काञ्चुकीयः-महाराज, अथ विम् । राजा-कष्ट भो। "शून्यः प्राप्तो यदि स्थो भमो मम मनोरथः । नूनं दशरथं नेतुं कालेन प्रेषितो रथः ॥११॥ तेन हि शीघं नश्यताम् । काञ्चुरीयः--यदामापयति महाराज । (नियात) राना-धन्पाः रालु वने वातास्तदारपरिवर्तिनः । विचरन्त बने रामं ये पृमन्ति यथासुसम् ॥१२॥ '(परिप) मुमन्त्रः-(मवता पित्य, सोकम् ) एते भृत्याः यानि कर्माणि हित्या स्नेहाटामे जातपाप्पाराक्षाः । चिन्तादीनाः गोरमन्दघदहा निरोशन्तं प्रार्थिन गईयन्ति ॥१३॥ 16 19 ·द्वितीयोऽङ्कः 21 51 53 53 51 (उपेत्य) जयतु महाराजः! राजा-म्रातः सुमन्त्र, व मे ज्येष्ठो रामः१... नहि नहि युक्तंममिहितं मया । व ते ज्येष्ठो रामः १ प्रियमुत, सुतः सा व दुहिता विदेहानां भर्तुनिरतिशयमक्तिगुरुजने ? . क्क वा सौमिविर्मा हतपितृकमासम्ममरणं किमप्याहुः किं ते सकलजनशोकार्णवकरम् ॥१४॥ सुमन्त्रः-महाराज, मा मैवममङ्गलवचनानि भापिष्ठाः । अचिरादेव तान् द्रक्ष्यसि । राजा-सत्यमयुक्तममिहितं मया । नायं तपस्विनामुचितः प्रश्नः । तत् कथ्यताम्---'अपि तपस्विनां तपो वर्धते ? अप्यरण्यानि स्वार्धानानि । विचरन्ती वैदेही न परिखिद्यते ?" सुमित्रा-सुमन्त्र, बहुवल्कलालंकृतशरीरा बालाप्यवालचारित्रा भर्तुः सहधर्मचारिणी अस्मान् महाराजं च किञ्चिन्नालंपति ! [सुमन्त, बहुयकळाळट्टिदसरीरा वाळा वि अवाळचारित्ता भत्तुणो सहधम्म आरिणी अझे महाराअं च विचि गाळवदि !] सुमन्त्रः-पर्व एव महाराजम्... राजा-जन श्रोत्ररसायनर्मम हृदयातुरीपधस्तेपा नामयेरेव श्रावय। मुमन्त्रः-यदानापयति महाराजः । आयुष्मान् रामः । राजा-राम इनि ? अयं रामः ! तन्नामश्रवणात् स्पृष्ट इव में प्रतिभाति । ततस्ततः! सुमन्त्र:-~आयुष्मान् लक्ष्मणः । 55 57 53 53 60 61

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91
प्रतिमानाटरे
राजा-(आचम्यावलोक्य)
अयममरपतेः ससा दिलीपो रघुरयमत्रभवानजः पिता मे ।
5./किमभिगमनकारणं भवद्भिः सह बसने समयो ममापि तत्र ।।
राम, वैदेहि, लक्ष्मण, अहमितः पितृणा सकाशं गच्छामि ।
हे पितरः, अयमयमागच्छामि ।
(मूळया पराम)
(काञ्चुकीयो यवनिकास्तरण करोति)
" सर्व-हा हा महाराजः । [हा हा महाराओ ! ]
(निप्यान्ता सर्वे)
इति द्वितीयोऽङ्कः
.
।। अथ तृतीयोऽङ्कः॥
(ततः प्रविशति मुघाकारः)
मुधाकार:- (मामार्जनादीनि कृया) भवतु, इदानीं कृतमल
कार्यमायसंभवसम्माजप्तम् । यावन्तं स्वप्न्यामि । (पतिति)
[भानु, दानि किद एय कम्यं भाग्यसमपरस आगत्त । जार मुह मुषिमं ।]
। (प्रविश्य) भट:---(भेटमुपगम्य, तारपिया) असो दास्याः पुत्र !
मिमिदानी कर्म न करोपि!
(तापनि
[भदा दासीपात्त ' कि दणि काम न नि !]
सुधागार:-(उपा) ताटय मा, ताइय माम् ।
दिम, नादि।
भट:-ताडिने सं किं करिष्यनि । मारिन सिरिममि]
मुघाकार:-धन्यम्य मम भागीयम्यर या महगं नाति
[HETA मगमग]
.

·25. - F १ 11 तृतीयोऽङ्कः भटः बाह्सहस्रेण कि कार्यम् ! बाहुसहस्सेण किं कय्यं] मुधाकार:-त्वां हनिष्यामि ! [नुव हणिम्स।] भटः- एहि दाम्याःपुत्र ! मृते मोक्ष्यामि । [हि दासीपुत्त, मुदे माग्चम्स ।। (पुनरपि ताडयति) सुधाकारः-(रुदित्वा) शक्यमिदानी भतः मेऽपराधं ज्ञातुम् ! (मक दाग भट्टा मै अवराहं जागिम !] भटः-नास्ति किलापराधो नास्ति ? ननु मया सन्दिप्टो मर्तृ- दारकस रामस्य राज्यविनष्टकृतसन्तापेन स्वर्ग गतस्य भर्तुर्दशरथस्य । प्रतिमागेहं द्रष्टुमद्य कौसल्यापुरोगैः सरन्तःपुरैरिहागन्तव्यमिति ! अनेदानीं त्वया किं कृतम् ! [गस्थि किळ अवराहो णयि १ ण मए मन्दिो भाहगरअस्म रामस्म रंगपिन्मकिटसन्दावेण सग्गं गटस्स मट्टिणो टसरहस्स पडिमागेई दटुं अब कोसळळापुरोएहि सबैहि अन्तेउरेहि इह आअन्तव्य ति । एत्य टणि तुए किं रिद !] " सुधाकार:-पश्यतु भर्ती । अपनीतकपोतसन्दानकं ताबद् गर्मगृहम् । साधवर्णकदत्तचन्दनपञ्चाङ्गुला भित्तयः । अवसक्तमाल्यदाम- । गोभीनि द्वाराणि । प्रकीर्णा वालुकाः । अत्रेदानी मया किं न कृतम् ! [पेक्पटु भष्टा । अवणीटकवोदसन्दाणों दाव गभगिदं । सोहवण्णअदत्त-. च-दणपञ्चाङ्गुळा मित्तीओ ओसत्तमळदामसोहीणि दुवाराणि। पदण्णा बाळुआ। एरथ दाणि मए किण किदै १] ॥ भटर यद्येवं विश्वस्तो गच्छ । यावदहमपि सर्व कृतमिति अमात्याय निवेदयामि । [जड एवं विस्मृत्यो गच्छ। जाव अई वि राज्यं किदै त्ति अमचस्स गिवेदेमि]] (निकान्ती) प्रवेशका + 13 ·24 प्रतिमानाटरे 91 राजा-(आवम्यावलोक्य) अयममरपतेः ससा दिलीपो रघुरयमत्रभवानजः पिता मे । किमभिगमनकारणं भवद्भिः सह बसने समयो ममापि तत्र ॥ राम, वैदेहि, लक्ष्मण, अहमित पितृणा सकाश गच्छामि । हे पितर , अयमयमागच्छामि । (मूळया परामृष्ट) (का चुकीयो यवनिकास्तरण करोति) स- -हा हा महाराज ! [हा हा महाराओ।] (निप्पा ता सर्व) इति द्वितीयोऽङ्कः 93 91 1 ।। अथ तृतीयोऽधः ॥ (तत प्रविशति मुधाकार) सुधागार:- (सम्माजनातीनि कृपया) भवतु, इदानी कृतमत्र कार्यमार्यसभवकम्पाजतम् । यावन्मुहूर्त स्वप्म्यामि । (स्वपिति) [भादू, दाणि जिद एप कथ्य मयसभामरस आगत । जार मुद्दत्त मुविस्स । ] • (प्रस) भटः--(रमुपगम्य, तापिया) अहो दास्या पुत्र ! मिमिदानी कर्म न करोपि। (तास्यति) [भालासोपुत्त 'किटाणि कम्म 7 रेमि ।] मुधागार:-(या) ताटय मा, ताइय माम् | [ये हि म, ताळेहि म।] भटः-ताडिते व किं करिष्यमि । [तादिदेवर किं करिस्समि] मुधारागः-अधन्यम्य मम शातीर्थम्येय बाहुमहर नास्ति। [ भमन स्वीमामा मामा ग1ि] , . .

·( 4) 25. 6 १ 10 . तृतीयोऽङ्कः भटः-वाहसहस्रेण कि कार्यम् ! [बाहुमहस्सैश कि क्यं । मुवाकार:-त्वा हनिष्यामि ! [टर हगिरस।] भटः- एहि दाम्या.पुत्र ! मृते मोक्ष्यामि । पहि दासीपुत्त, मुदे माशम्स। (पुनरपि नाइयति) सुंघाकार:-(दिवा) शक्यमिदानीं भर्तः मेऽपराध ज्ञातुम् ! ' मक्क नाण भट्टा मे अवराह नागिन भटः-नास्ति किलापराधो नास्ति ? ननु मया सन्दिप्रो मर्तृ- हारकम्प रामम्य राज्यविनष्टकृतमन्तापेन स्वर्ग गतस्य भर्तुर्दशरथम्य पतिमागेहं द्रष्टुमद्य कौसल्यापुरोगैः सरन्त.पुरिहागन्तव्यमिनि ! अदानीं त्वया कि कृतम् ! [गस्थि विळ अवराहो पत्थि १ ण मए मन्दिट्टो मरिचार अस्म रामस्म रविन्मक्टिसन्दावेण मग गटम्म भट्टियो दसरहस्स दिमागे दमु अब कोमळापुरोएहि सहि अन्वेटरेहि इह आअन्तव्य त्ति । एत्य दाणि तुए किं विट १] सुधाकार:-पश्यतु मर्ता । अपनीतकपोतमन्दानकं तावद् गर्भगृहम् । सौधवर्णकदत्तचन्दनपञ्चाङ्गुला भित्तयः । अवमक्तमाल्यदाम- गोसनि द्वाराणि | प्रकीर्णा वालुकाः । अत्रेदानी मया कि न कृतम् । पिस्तदु मा। अवगीदयोदमन्दाणम टाव गर्भगिह ! सोहवणअदत्त- च दशपञ्चानुमा मित्तीभो ओसत्तमन्ळदामसोहीणि दुवाराण। पदण्णा बानुभा। एस्य दाणि मए कि ण विदं १] भट:-यद्य विधस्तो गच्छा यावदहमपि मर्व कृतमिति अमात्याय निवेदयामि । [जद्र एवं विस्मृत्यो गच्छ। नाव अई पि सन्च किदै त्ति समचस्स गिवेदेमि!]] (निपातो) 11 12 प्रवेशकः ·26 प्रतिमानाटके 15 14 11 19 11 सूत:- 91 (तत प्रविशति भरतो रथेन सूतश्च) भरतः--(सावेगम् ) सूत, चिर मातुलपरिचयादविज्ञातवृत्तान ऽस्मि । श्रुत मया दृढमकल्यशरीरो महाराज इति । तदुच्यताम्- "पितुर्मे को व्याधिः? सूत:- हृदयपरितापः सलु महान्। भरतः–किमाहुस्तं वैद्याः? नसलु भिपजस्ता निपुणा भरत:-किमाहार मुक्ते ? शयनमपि ? भूमौ निरशन भरतः-फिमाशा स्याद् ? सूत:- देव भरत:- स्फुरति हृदयं वाय रथम्॥ सूतः यदाज्ञापयत्यायुष्मान् । भरत:-(रथवेग निरूप्य) अहो तु खलु रथग । एते ते "द्रुमा धावन्तीव द्रूतरथगतिक्षीणविपया नदीयोवृत्तान्युनिपतति मही नेमिविपरे । अरव्यक्तिनष्टा स्थितमिन जपाचकालय रजश्वासोद्धृतं पतति पुरतो नानुपतति ॥री मृतः-आयुष्मन् , सोपलेहतया वृक्षाणाममित सत्स्योत्य भनित्यम् । भरत:- अहो तु खलु स्वजनदर्शनोत्सुरस्य लरता मे मनम सम्प्रति हि- . 23 (स्थ वाहय . " - ·27 30 31 . 2 तृतीयोऽङ्कः पतितमिन शिरः पितुः पादयोः स्निह्यतेवास्मि राशा समुत्थापितः । त्वरितमुपगता इन भ्रातरः क्लेदयन्तीव मामश्रुमिर्मातरः ॥३॥ सदृश इति महानिति व्यायतश्चेति भृत्यैरिवाह स्तुतः सेवया । परिहसितमियात्मनस्तन पश्यामि वेपं च भाषां च सौमित्रिणा ॥४॥ मृतः--(आत्मगतम् ) भोः कष्टम् ! यदयमवित्राय महाराज- दिनागमुद निष्फलामाशा परिवहनयोध्या प्रवेष्यति कुमारः । जानतिरप्यसामिन निवेद्यते । कुत , " पितुः प्राणपरित्यागं मातुरैश्वर्यलुब्धताम् । ज्येष्ठमातुः प्रवासं चालीन् दोपान् कोऽभिधास्यति ॥५॥ प्रविश्य) भटः-जयतु कुमारः ! भरतः-भद्र, कि शत्रुघ्नो माम् 'अमिगतः ? भट:-'अभिगत.म्वलु वर्तते कुमार । उपाध्यायास्तु भवन्तमाहुः। भरत:-किमिति किमिति । भटः--"एकनाडिकावशेष. कृत्तिकाविषयः । तस्मात् प्रतिपन्ना. यामेव रोहिण्यामयोध्या प्रपेक्ष्यति कुमार" । भरतः बाढमेपम् । न मया गुरवचनमतिकान्तपूर्वम् । गच्छ त्वम् । भटः-~यदानापति कुमारः। (निम्नान्तः) 35 34 ३३ 39 40 अमितः ·30 82 63 . 66 66 67 69 प्रतिमानाटके " देवकुलिक:-अयं खलु तावत् प्रियावियोगनिवेदपरित्यक्त- राज्यभारो नित्यावभृथस्नानप्रशान्तरजा अजः । भरतः- नमोऽस्तु श्लाघनीयपश्चात्तापाय । (दशरथस्य प्रतिमामव रोक्यन् पयोकुलो भूत्वा) भो., बहुमानव्याक्षिप्तेन मनसा सुव्यक्तं नाव धारितम् । अभिधीयतां कस्तावदत्रभवान् । देवकुलिक:-अय दिलीप । भरत:-पितृपितामहो महाराजस्य । ततस्ततः ! देवकुलिकः -अत्रभवान् रघु.। भरत:-पितामहो महाराजस्य ! ततस्तत. ' देवकुलिक: :--अत्रभवानज.। भरत:-पिता तातस्य । विमिति, किमिति ? देवकुलिक:-अयं दिलीपः, अयं रघु, अयमज. । भरतः-भपन्न किञ्चित् पृच्छामि धरमाणानामपि प्रतिमा स्थाप्यन्ते । देवकुलिका -न खलु; अतिक्रान्तानामेव । भरत:-तेन वापृच्छे भान्तम् । देवलिरु:-तिष्ठ। येन प्राणाश्च राज्यं च स्त्रीशुल्फार्थे विराजिताः । इमां दशरथस्य प्रतिमा फिन पृष्ठसे ॥९॥ भरतः-हा तात! हसून पनति । पुन मगगय) हढय भव मकामं यत्कृत शइसे वं शृणु पितृनिधनं तच्छ धैर्य च तात् । 60 71 . 15 ·31 तृतीयोऽङ्कः स्पृशति तु यदि नीचो मामयं शुल्कशब्द-51 स्त्वथ च भवति सत्यं तत्र देहो विशोध्यः ॥१०॥ 8 आर्य! 79 80 31 83 1 देवकुलिक:-आति इक्ष्वाकुकुलालापः खल्वयम् ! कञ्चित् कैकेयापुत्रो भरतो भवान् ननु ! भरत:-अथ किम् , अथ किम् । दशरथपुत्रो भरतोऽस्मि, न कैकेय्याः। देवकुलिकः--तेन ह्यापुन्छे भवन्तम् । भरत:-तिष्ठ, शेषमभिधीयताम् । देवालिकः-का मतिः श्रूयताम्। उपरतस्तत्रभवान् दशरथः। सीतालक्ष्मणसहायस्य रामस्य वनगमनप्रयोजनं न जाने । भरत: थे, कथमायोऽपि वनं गतः ? (द्विगुग मोमुपगतः) देवकुलिकः--कुमार, समाश्वसिहि समाश्वसिहि । भरत:-(ममाश्रम्य) अयोध्यामटचीभूतो पित्रा भ्रात्रा च वर्जिताम् । पिपासातोऽनुधावामि क्षीणतोयां नदीमिव ॥११॥ R.C.. आर्य, विस्तरश्रवणं मे मनसः स्थैर्यमुत्पादयति । तत् सर्वमनव- शेषममिधीयताम् । देवालिका-श्रूयताम् । तत्रभवता राशामिपिच्यमाने तत्र- भवति रामे, भवतो जनन्याभिहितं किल ! भरत:--तिष्ठ। 85 88 81 ·32 प्रतिमानाटा प्र० 91 " 93 95 तं स्मृत्वा शुल्कड़ोपं भवतु मम सुतो राजेसमिहिने तद्धर्येणाश्वसत्या ब्रज सुत वनमित्यार्योऽप्यभिहितः । तं दृष्ट्वा बद्धचीरें निधनमसदृशं राजा ननु गतः पात्यन्ते विकालापा ननु मयि सदृशाः शेपाः प्रकृतिभिः। (मोहमुपगत) (नेपये) उत्सरतार्याः, उत्सरत । [उस्सरह अय्या, उस्सरह !] " देवकुलिक:-(विलोक्य) अये, काले खल्वागता देव्यः पुत्रे मोहमुपागते । R. हस्तस्पों हि मातॄणामजलस्य अलाञ्जलिः ॥१३॥ " (ततः प्रविशन्ति देव्यः सुमन्नश्च) सुमन्त्रः -इत इतो भवत्यः । इदं गृहं तत् प्रतिमानृपस्य नः समुच्छ्यो यस्य स हHदुर्लभः। अयन्त्रितैरप्रतिहारिकागतैविना प्रणाम पथिकैरुपास्यते ॥१४॥ (पत्रिश्यावलोक्य) भवत्यः, न खलु न खलु प्रवेष्टव्यम् । अयं हि पतितः कोऽपि वयस्स्थ इव पार्थिवः । देवकुलिक:- परशङ्कामलं कर्तुं गृह्यतां भरतो ह्ययम् ॥ १५ ॥ (निष्कान्ना) देव्यः-(सहसोपगम्य) हा जात ! भरत ! [हा जाद ! भरट !] भरत:--(किश्चित् समाश्वस्य) आर्य ! सुमन्त्रः-जयतु महा....(इत्य|क्ते सविषादम् ) अहो, स्वर- सादृश्यम् ! मन्ये प्रतिमास्थो महाराजो व्याहरतीति । भरतः-अथ मातृणामिदानी कावस्था ? 96 97 " S ३७ - 20D 101 1cg 103 ·तृतीयोऽङ्क: 33 101 108 (5) देव्यः--जात, एपा नोऽवस्था ! [जाद, एसा णो अवत्या ! (अवगुण्ठनमपनयन्ति) मुमन्त्रः-भवत्यः, निगृह्यतामुत्कण्टा । भरतः--(मुमन्नं विलोक्य) सर्वममुद्राचारसन्निकर्षन्तु मां सूच- यति । कञ्चित् तातसुमन्त्रो भवान् ननु ? सुमन्त्रः--कुमार, अब किम् । मुमन्त्रोऽस्मि । 193 अन्वास्यमानचिरजीपदोपैः कृतनभावेन विडम्व्यमानः। अहं हि तम्मिन् नृपती विपन्ने जीवामि शून्यस्य रथस्य मूतः ॥१६॥ भरतः-हा तात ! (उपाय) तात, अभिवादनक्रममुपदेष्टुम् 17 इच्छामि मातृणाम् । 220 Int भरत 113 113 120 मुमन्त्रः-बाढम् । इयं तत्रमवतो रामस्य जननी देवी कौसल्या। -अम्ब, अनपगद्धोऽहमभिवादये । कौसल्या जात, निम्सन्तापो भव । [जाट, णिस्मन्दापी होहि] भरत:-(आत्मगतम्) आक्रुष्ट इवाम्यनेन । (प्रकाशम् ) अनुगृहीतोऽम्मि । ततम्नतः? मुमन्त्रः- इयं तवमवतो लक्ष्मणम्य जननी देवी सुमित्रा । मरतः-अम्ब, लामणेन अतिमन्वितोऽहमभिवादये। सुमित्रा-जात, यगोभागी भव । [जाद, जसोमाई होहि 1] मरत:--अम्ब, टदं प्रयतिष्ये । अनुगृहीतोऽसि । ततस्ततः ! सुमन्त्रः-दयं ते जननी । मरत:-(गरोयमुत्थाय) आः पाप! 115 118 - 115 ·34 प्रतिमानाटके 190 131 13 23 - 131 125 मम मातुश्च मातुश्च मध्यस्था त्वं न शोभसे । गङ्गायमुनयोर्मध्ये कुनीन प्रवेशिता ॥१७॥ कैकेयी-जात, कि मया कृतम् । [जाद, कि मए क्दि!] भरत:-कि कृतमिति वदसि ? वियमयशसा चीरेणार्यो नृपो गृहमृत्युना प्रततरुदितैः कृल्मायोध्या मृगैः सह लक्ष्मणः । दयिततनयाः शोकेनाम्बाः स्नुपाध्वपरिश्रमैः धिगिति वचसा चोग्रेणात्मा त्वया ननु योजिताः कौसल्या--जात, सर्वसमुदाचारमध्यस्थ.कि न वन्दसे मातर- [जाद, सबसमुदाआरमझत्यो कि ण वन्दसि मादर] भरत:---मातरमिति अम्ब, त्वमेव मे माता । अम्ब, अमिवाद कौसल्या--नहि नहि, इयं ते जननी । [गहि णहि, इअ दे जगणी।] भरतः—आसीत् पुरा । न तु इदानीम् । पश्यतु भवती त्यक्त्वा स्नेहं शीलमड्क्रान्तदोपैः पुवास्तावन्नन्वपुत्राः क्रियन्ते। लोकेऽपूर्व स्थापयाम्येष धर्म भिद्रोहादस्तु माताप्यमाता॥१९॥ कैकेयी-जान, महाराजस्य सत्यवचनं रक्षन्त्या मया तथोक्ता [जाद, महाराअस्स सञ्चवअण रायन्तीए मए तह उत्त । ] भरत:-किमिति सिमिति । कैकेयी--पुत्रो मे राजा भवतु इति । [पुत्तओ मे राजा होदु त्ति। 12 127 Re. 129 130 131 ·तृतीयोऽङ्कः 35 192 191 45 130 137 भरत -अथ स इदानीमार्योऽपि भवत्याः कः । 1" पितुर्मे नौरमः पुत्रः १ न क्रमेणामिपिच्यते ? दयिता भ्रातरो न स्युः १ प्रकृतीनां न रोचते ? कैकेयी-जात, शुल्कलुब्धा ननु प्रष्टव्या ?, [बाद, सुकलुद्धा णणु पुच्छिदव्वा ?] भरत:-बक्कलै तराजथीः पदातिः सह भार्यया । बनवासं त्वयाजप्तः शुल्केऽप्येतदुदाहृतम् ।।२१।। कैकेयी-जात, देशकाले निवेदयामि। जाद, देसकाले णिवेदेमि। भरतः---अयशसि यदि लोमः कीर्तयित्या किमस्मान किमु नृपफलतपः किं नरेन्द्रो न दद्यात् । अथ तु नृपतिमातेत्येप शब्दस्तवेष्टो वदतु भवति सत्यं किं तवार्यो न पुत्रः ॥२२॥ कप्ट कृतं भवत्या! त्वया राज्यपिण्या नृपतिरमुनि व गणितः सुतं ज्येप्ठं च त्वं ब्रज वनमिति प्रेपितवती । नशीण यद् दृष्ट्वा जनकतनयां बल्कलबतीम् । अहो धात्रा सृष्टं भवति हृदयं वनकठिनम् ।।२३।। सुमन्त्र:-कुमार, एतौ वसिष्ठवामदेश सह प्रकृतिभिरभिषेक पुरस्कृत्य भवन्तं प्रत्युद्गती विज्ञापयतः । " गोपहीना यथा गावो विलयं यान्त्यपालिताः । एवं नृपतिहीना हि विलयं यान्ति वै प्रजाः ॥२४॥ 'भरता-अनुगच्छन्तु मा प्रकृतयः । 140

·36
प्रतिमानाके
119
145
115
सुमन्त्र:--अभिषेक सिज्य के भवान् यास्यति ।
भरतः---अभिषेकमिति ? इहात्रभवत्यै प्रदीयताम् ।
सुमन्त्रः- क भवान् यास्यति ।
भरत:-
तत्र यास्यामि यनासौ वर्तते लक्ष्मणप्रियः ।
नायोध्या तं विनायोध्या सायोध्या यत्र राधवः ।।
(निष्कान्ता सर्वे)
इति तृतीयोडा
॥ अथ चतुर्थोऽङ्कः ॥
(तत प्रविशत चेट्यौं)
। विजया-हला नन्दिनिके, भण भण । अद्य कौसल्यापुरोगै
सर्वैरन्त पुरै प्रतिमागेह द्रष्टु गतेस्तत्र मिल भर्तृदारको भरतो दृष्ट ।
अह च मन्दभागा द्वारे स्थिता । [हळा दिथिए, मणहि भणेहि । अज
कोसळापुरोगेहि सव्वेहि अ तेवुरोह पडिमागेह दठ्ठ गदेहि ताह किळ
महिदारओ भरदो दिहो । अह च मतभाआ दुवारे हिदा।]
' नन्दिनिका-~~हला, दृष्टोऽस्मामि कोतूहलेन भर्तृदारको भरत ।
[हळा, दिहो अहाहि कोदूहळेग भटिंदारओ भर दा1]
विजया---भट्टिनी कुमारेण कि मणिता।
[भक्षिणी कुमारेण किं भणि १]]
'नन्दिनिका-कि भणितम् । अवलोक्तुिमपि नेच्छति कुमार ।
[कि भणिद १ ओलोइदु वि णेच्छदि कुमारो।]
3
.

·37 5 चतुषोऽङ्कः विजया-अहो अत्याहितम् ! राज्यलुब्धया भर्तृदारकस्य रामस्य राज्यविनष्ट कुर्वत्यात्मनो वैधव्यमादिष्टम् । लोकोऽपि विनाशं गमितः । निघृणा खलु भट्टिणी ! पापकं कृतम् ! [अहो अचाहिदम् । रबदाए भहिदारअस्म रामरस रजन्मिई करन्तीए अत्तणो वेहलं आदिहं । ळोवो वि विगास गमिओ। णिग्विणा हु महिणी ! पापअ किदं!] नन्दिनिका-हला, शृणु । प्रकृतिभिरानीतमभिपेकं विसृज्य रामतपोवनं गतः कुमारः । [हळा, सुशाहि । पइदीहि आणीदं अमिसे विसनिय रामतवोवणं गदो कुमारो।] 'विजया--(सविषादम) हम् ! एवं गतः कुमारः। मन्दिनिके, एह्यावां महिनीं पश्यावः । [! एवं गदो कुमारो ! णन्दिणीए, एहि अझे भहिणि पेक्सामो। (निष्कान्ते) प्रवेशकः 6 8 10 11 '(तत प्रविशति भरतो रथेन सुमन्नः सूतश्च) भरत:--स्वर्ग गते नरपतौ सुकृतानुयात्रे पौराश्रुपातसलिलरनुगम्यमानः । द्रष्टुं प्रयाम्यपणेषु तपोवनेषु रामाभिधानमपरं जगतः शशाङ्कम् ॥१॥ सुमन्त्रः--एप एप आयुष्मान् भरतः । "दैत्येन्द्रमानमथनस्य नृपस्य पुत्रो यज्ञोपयुक्तविभवस्य नृपस्य पौत्रः । भ्राता पितुः प्रियकरस्य जगत्प्रियस्य रामस्य रामसदृशेन प्रथा प्रयाति ॥२॥ भरतः-भोस्तात ! 19 L 13 ·38 प्रतिमानाटके 15 . 16 17 13 19 सुमन्त्रः कुमार, अयमलि । भरतः—क तत्रभवान् ममारों रामः ! वासौ महाराजस्य प्रतिनिधिः? व सन्निदर्शनं सारवताम् ! कासौ प्रत्यादेशो राज्यलुभायाः कैकेय्याः । क तत् पात्रं यशसः ! कासौ नरपतेः पुत्रः ! कासौ सत्यमनुव्रतः । मम मातुः प्रियं कर्तुं येन लक्ष्मीविसर्जिता । तमहं द्रष्टुमिच्छामि दैवतं परमं मम ॥शा सुमन्त्रः- कुमार, एतस्मिन् आश्रमपदे अत्र रामश्च सीता च लक्ष्मणश्च महायशाः। सत्यं शीलं च भक्तिश्च येषु विग्रहवन स्थिता ॥४॥ भरतः--तेन हि स्थाप्यता रथः । सूतः यदाज्ञापयत्यायुप्मान् । (तथा फरोति) भरत: -(स्यादवार्य) एकान्ते विश्रामयाश्वान् । सूत:--यदाज्ञापयत्यायुप्मान् । (निष्कान्तः) भरतः--भोस्तात, निवेद्यता निवेद्यताम् ! सुमन्त्रः-कुमार, किमिति निवेद्यते ? भरत:--राज्यलुब्धायाः कैकेय्या. पुत्रो भरतः प्राप्त इति । सुमन्वः-कुमार, अर्क गुरुजनापवादममिधातुम् । भरतः-सुप्ठु; न न्याय्यं परदोपमभिधातुम् । तेन हि उच्यतामिक्ष्वाकुकुलन्यगमूतो भरतो दर्शनमभिलपतीति । सुमन्त्रः-कुमार, नाहमेवं वस्तुं समर्थ. | अथ पुनर्भरतः प्राप्त इति याम् । तनिदर्शनम् सिताः ११ 23 1 "* ·चतुर्थोऽङ्कः 39 30 1 12 13 भरतः-नन । नाम केवलममिवीयमानमकृतप्रायश्चित्तमिव मे प्रतिभाति । किं ब्रह्मनानामपि परेण निवेदनं क्रियते ! तम्मान् लिष्ठतु तातः 1 अहमेव निवेदयिष्ये । भो मोः । निवेद्यतां निवेद्यता तत्र भवते पितृवचनकराय राधवाय- निघृणश्च कृतमश्च प्राकृतः प्रियसाहमः । भक्तिमानागतः कश्चित् कथं तिष्ठतु यात्विति ॥५॥ (ततः प्रविशति रामः सीतालक्ष्मणाभ्याम्) रामः--(आकर्य, महर्षम् ) सौमित्रे, किं शृणोपि ! अपि विदेहराजपुत्रि, त्वमपि शृणोपि ? कस्यासौ सदृशतरः स्वरः पितुर्मे गाम्मीर्यात् परिभवतीय मेघनादम् । यः कुर्वन् मम हृदयस्य बन्धुशहां सस्नेहः श्रुतिपथमिष्टतः प्रविष्टः ॥६॥ लक्ष्मणः-आर्य, ममापि वल्वेष स्वरसयोगो बन्धुजनवहुमान- मावहति । एप हि, धनः स्पष्टो धीरः समदपभस्निग्धमधुरः कलः कण्ठे वक्षस्यनुपहतमञ्चाररभमः । यथास्थानं प्राप्य स्फुटकरणनानाक्षरतया. चतुणों वर्णानामभयमिय दातुं व्यवसितः ॥७॥ रामः-सर्वथा नायमवान्धवस्य स्वरसयोगः । क्लेदयतीव मे • हृदयम् । वत्स लक्ष्मग, दृश्यता तावत् । लक्ष्मणः--यदाज्ञापनत्यायः । (परिकामति) 35 31 ·प्रतिमानाटके -- 39 अन . 43 13 भरतः-अये, कथं न कश्चित् प्रतिवचनं प्रयच्छति ! किन्न खलु विज्ञातोऽस्मि कैकेय्या पुत्रो भरत प्राप्त इति ! लक्ष्मणः-(विलोक्य) अये, अयमार्यो राम.!नन। रूपसादृश्यम " मुखमनुपमं त्वार्यस्याभं शशाङ्कमनोहरं मम पितृसमं पीनं वक्षः सुरारिशरक्षतम् । द्युतिपरिवृतस्तेजोराशिर्जगत्प्रियदर्शनो नरपतिरियं देवेन्द्रो वा स्वयं मधुसूदनः ॥८॥ " (सुमन्त्रं दृष्ट्या) अये, तात.! सुमन्त्रः-अये, कुमारी लक्ष्मणः ! भरतः---एवं गृरुरयम् । आर्य, अभिवादये । लक्ष्मण:--एोहि । आयुष्मान् भव । (सुमन्त्र वीक्ष्य) तात, कोऽत्रभवान् ! सुमन्त्रः-कुमार, रघोश्चतुर्थोयमजात् तृतीयः पितुः प्रकाशस्य तव द्वितीयः । यस्यानुजस्त्वं स्वकुलस्य केतोः तस्यानुजोऽयं भरतः कुमारः ॥९॥ लक्ष्मणः --एह्येहीक्ष्वाकुकुमार । स्वस्ति, आयुष्मान् भव । असुरसमरदर्वत्रसंघृष्टचापै- रनुपमबलवीर्यैः स्वैः कुलैस्तुल्यवीर्यः। रघुरिव स नरेन्द्रो यज्ञविश्रान्तकोशो भव जगति गुणानां भाजनं भ्राजितानाम् ॥१०॥ 45 48 ·(6) चतुर्थोऽङ्कः 41 51 31 53 51 25 भरतः-अनुगृहीतोऽन्नि। लक्ष्मणः-कुमार, इह तिष्ठ । त्वदागमनमार्याय निवेदयामि । भरतः-आप, अचिमिदानीममिवादयितुमिच्छामि । शीत्रं निवेद्यताम् । लक्ष्मणः- वाहम् । (उपेन्य) जयत्वार्यः । आर्य, अयं ते दायतो भ्राता भरतो मातृवत्मलः । मंकान्तं यत्र ते रूपमादर्भ इव तिष्ठति ॥११॥ राम: चन्म लमण, क्रिमे मरत प्राप्त लक्ष्मणः--आर्ग, अब निम् । रामः-मैथिलि, भरतावलोकनार्थ विशालीक्रियता ते चक्षुः। सीता–आर्यपुत्र, कि भरत आगत ' [भय्यउच, किं भरटो आअहो!] रामः-मैथिलि, अथ रिम् । "अय सल्लागच्छामि पिना मे दुष्करं कृतम् । कीयम्तनयस्नेहो भ्रातृम्नेहोऽयमीदृशः ॥१२॥ लक्ष्मणः-आर्य, कि विगतु कुमार ? गमः-चम्म ल मण, इदमपि तापदारमामिप्रायमनुवर्तयितुम् इच्छमि ? गच्छ, मकृत्य भी प्रवेश्यना कुमार । लक्ष्मणः-यदानापपत्यायं । रामः अथवा तिष्ठ त्वम् । इयं वयं गच्छतु मानहेतोर्मातेर भारं तनये निवेश्य । तुपारपूर्णोत्पलपानवा हीचमामारमियोत्सृजन्ती ।।१३।। 61 9 U ·42 प्रतिमामाटो 65 68 B7 69 , 0 सीता--यदार्यपुत्र आज्ञापयति । (उत्थाय, परिक्रम्य भरतमद लोक्य) ह ततस्ता वेलामिदानी निक्रान्त आर्यपुल । नहि नहि, रूप सादृश्यम् । [न अय्यउत्तो आणवेदि। (उत्थाय, परिशम्य भरतमवलोक्य) ह तदो त वेळ दाणि णिकन्तो अग्यउत्तो । णहि णहि, स्वसादिरस ।] सुमन्त्रः -अये वधू भरतः-अये, इयमत्रभवती जनकराजपुत्री। 659 इदं तत् स्त्रीमयं तेजो जातं क्षेत्रोदराद्धलात् । जनकस नृपेन्द्रस्य तपसः सन्निदर्शनम् ॥१४॥ आर्ये, अभिवादये, भरतोऽहमस्मि । सीता-(आमगतम्) नहि रूपमेव । स्वरयोगोऽपि स एव । (प्रकाशम् ) वत्स चिर जीव । [हि रूप एव । सरजोओ वि सो एव । (प्रकाशम् ) वच्छ, चिर जीन।] भरतः-अनुगृहीतोऽस्मि । १५ सीता--एहि वत्स, भ्रातृमनोरथ पूरय । [एहि वच्छ, भादुमणोरह पुरेहि।] सुमन्त्रः-प्रविशतु कुमार । भरतः----तात, इदानीं कि करिष्यसि । सुमन्त्रः- अहं पश्चात् प्रवेक्ष्यामि स्वर्ग याते नराधिपे । पिदितार्थस्य रामस्य ममैतत् पूर्वदर्शनम् ।। भरत:-एवमस्तु] (राममुपगम्य) आर्य, अभिवादये, भरतोऽहमस्मि। रामः--(सर पम्) एह्येहीक्ष्वाकुकुमार । स्वस्ति, आयुष्मान् भव | वक्षः प्रसारय कपाटपुटप्रमाणम् आलिङ्ग मा सुचिपुलेन भुजबूयेन । 71 13 16 17 73 ·43 80 81 82 83 चतुर्थोऽङ्कः उन्नामयाननमिदं शरदिन्दुकल्पं प्रहादय व्यसनदग्धमिदं शरीरम् ॥१६॥ भरतः-अनुगृहीतोऽस्मि । सुमन्त्र:-(उपत्य) जयत्वायुष्मान् ! राम:--हा तात ! गत्वा पूर्व स्वसैन्यैरभिसरिसमये खं समानैर्विमानैः विख्यातो यो विमर्दे स स इति बहुशः मासुराणां सुराणाम् स श्रीमांस्त्यक्तदेहो दयितमपि विना स्नेहवन्तं भवन्तं स्वर्गस्थः साम्प्रतं किं रमयति पितृभिः स्वैर्नरेन्द्रनरेन्द्रः ।। सुमन्त्रः-(सशोरम) नरपतिनिधनं भवत्प्रवासं भरतत्रिपाठमनाथतां कुलस्य । बहुविधमनुभूय दुष्प्रमह्यं गुण इव वह्वपराद्धमायुपा मे ।। ४६ सीता-दन्तमार्यपुत्रं पुनरपि रोदयति तात. । रोदन्तं अय्यउत्त पुणो वि रोटावीअदि ताटो।] रामः-मैथिलि, एप पर्पवम्यापयाम्घात्मानम् । वत्स, लक्ष्मण, आपस्तावत् । लक्ष्मणः-पताजापनत्यायः । भरत:-आर्य, न खलु न्याय्यम् ! क्रमेण शुश्रूपयिष्ये । अह- मेव यास्यामि । (श गृहीन्या निषम्य, प्रविश्य) इमा आपः । रामः-(आचम्य) मैथिलि, विगीते खलु लक्ष्मणस्य व्यापारः। सीता--आर्यपुत्र, ननु एतेनापि शुश्रपयितव्यः ! अग्यउत्त, एीदगापि मुम्ममइयो ! 85 86 87 45 89 ·44 प्रतिमानारके 99 91 93 95 रामः-सुष्टु खल्विह लक्ष्मण शुश्रूषयतु | तत्रस्थो । भरत शुश्रूषयतु । भरतः-प्रसीदत्वार्य । इह स्थास्यामि देहेन तत्र स्थास्यामि कर्मणा । नाम्नैव भवतो राज्यं कृतरक्षं भविष्यति ॥१९॥ राम:~-वत्स कैकेयीमात , मा मैवम् । " पितुनियोगादहमागतो वनं न वत्स दान भयान्न विभ्रमात् । कुलं च नः सत्यधनं प्रवीमि ते कथं भवान् नीचपथे प्रवर्तते ॥२०॥ सुमन्त्रः-अथेदानीमभिषेकोदक क तिष्ठतु ? रामः-~-यत्र में मात्राभिहित तत्रैव तावत् तिष्ठतु । भरत:---प्रसीदत्वार्य । आर्य, अलमिदानी व्रणे प्रहर्तुम् । अपि सुगुण ममापि त्वत्प्रसूतिः प्रवतिः स सलु निभृतधीमांस्ते पिता मे पिता च । सुपुरुष पुरुपाणां मातृदोपो न दोपो वरद भरतमाते पश्य तापद्यथावत् ॥२१॥ सीता--आर्यपुत्र, अतिकरुण मन्त्रयते भरत ! किमिदानीमा पुत्रेण चिन्त्यते ? [अग्यउत्त, अदिवरुण म तेअइ भरदो' कि दाण अर उत्तेण चि तीअदि !] रामः-मैथिलि, 101 तं चिन्तयामि नृपति सुरलोकयातं येनायमात्मजपिशिष्टगुणो न दृष्टः । GA 97 93 100 ·45 102 203 104 चतुर्थोऽङ्कः ईम्विधं गुणनिधिं समवाप्य लोक Rc धिग् भो विधैर्यदि वलं पुरुषोत्तमेषु ॥२२॥ वत्स, कैकेयीमातः! यत्सत्यं परितोपितोमि भवता निष्कल्मपात्मा भवान् त्वद्वाक्यस्य वशानुगोऽम्मि भवतः ख्यातैर्गुणनिर्जितः । किन्त्येतन्नृपतेर्वचस्तदनृतं कर्तुं न युक्तं त्वया किश्चोत्पाद्य भवद्विधं भवतु ते मिथ्याभिधायी पिता ।। भरता-यावद्धविप्यति भवन्नियमावसानं ताबद्भवेयमिह ते नृप पादमूले । रामः---मैवं नृपः वसुकृतैरनुयातु सिद्धि मे शापितो न परिरक्षसि चेत् खराज्यम् ॥२४॥ भरतः हन्त, अनुत्तरममिहितम् ! भवतु; समयतस्ते राज्यं परिपालयामि। रामः--वत्स, क: समयः । भरत: मम हस्ते निक्षिप्तं तव राज्यं चतुर्दशवर्षान्ते प्रतिग्रहीतुमिच्छामि। रामः--एवमस्तु । भरत:-आर्य, श्रुतम् ? आयें, श्रुतम् ? तात, श्रुतम् ! ॥ सर्व-वयमपि श्रोतारः । भरतः-आर्य, अन्यमपि वरं हर्तुमिच्छामि । रामः-वल्म, किमिच्छसि ! किमहं ददामि किमहमनुष्ठास्यामिर 198 107 103 - 109 110 . 113 113 ·46 प्रतिमानाटक 111 115 116 117 119 119 भरत:--पादोपभुक्ते तव पादुके मे एते प्रयच्छ प्रणताय मूी। यावद्वानेष्यति कार्यसिद्धि तावद्भविष्याम्यनयोविधेयः ॥२५॥ रामः---(संगतत्) हन्त भोः । सुचिरेणापि कालेन यशः किञ्चिन्मयार्जितम् । अचिरेणैव कालेन भरतेनाद्य सञ्चितम् ।।२६।। सीता-आर्यपुत्र, ननु दीयते खलु प्रथमयाचनं भरताय ? अय्यउत्त, ण दीअदि खु पुडमजाअर्ण भरदस्स !] रामः-तथास्तु । वत्म, गृह्यताम् । (पादुकै अर्पयति) भरत:-~अनुगृहीतोऽस्मि । (गृहीत्वा) आर्य, अनाभिपेकोदक- मावयितुमिच्छामि। रामः-तात, यदिष्टं भरतस्य तत् सर्व क्रियताम् । सुमन्त्र:-यदानापयत्यायुप्मान् । भरत:---(भारमगतम्) हन्त मो:! श्रद्धेयः स्वजनस्य पौररुचिती लोकस्य दृष्टिक्षमः म्वर्गग्यस्य नराधिपस्य दयितः गीलान्वितोऽहं सुतः । भ्रातृणां गुणशालिना बहुमतः कीर्तमहाजन संवादपु कथाश्रयो गुणवतां लब्धप्रियाणां प्रियः ॥२७॥ रामः-यम, फैयामात, राज्यं नाम मुद्रतमपि नोपेक्षणीयम् । तम्मादधर विजयाय प्रनिनिता कुमार । • 18 मीता--हम् ! अयर गमिप्यति युमागे भग्तः ! 220 121 ·पञ्चमोऽङ्कः 47 128 17 123 192 [हं ! अन एन्च गमिस्सदि कुमारो भरदो १] रामः-- अलमतिलेहेन। अद्यैव विजयाय प्रतिनिवर्ततां कुमारः। भरत:-आर्य, अद्यैवाहं गमिष्यामि । आशावन्तः पुरे पौराः स्थास्यन्ति त्वद्दिदृक्षया । तेषां प्रीतिं करिष्यामि त्वत्प्रसादस्य दर्शनात् ॥२८॥ सुमन्त्र:---आयुप्मन् , मयेदानी किं कर्तव्यम् । रामः-तात, महाराजवत् परिपालयतां कुमारः। सुमन्त्रः--यदि जीवामि, तावत् प्रयतिष्ये । रामः-वत्स कैकेयीमातः; आरुह्यतां ममाग्रतो रथः । भरतः--यदाज्ञापयत्यायः। (स्यमारोहतः) रामः----मैथिलि, इतम्तावत् । वस लक्ष्मण, इतस्तावन् । आश्रमपदद्वारमात्रमपि भरतस्यानुयानं भविष्यामः । (निष्कान्ता. सर्वे) इति चतुर्थोऽङ्कः 131 - 232 133 ।। अथ पञ्चमोऽङ्कः ।। (तन प्रविशति सीता तापसी च) 1 सीता--आयें, उपहारसुमन आकीर्णः संमार्जित आश्रमः ! आश्रमपदविभवेनानुष्ठितो देवममुदाचारः। तद्यावदार्यपुत्रो नागच्छवि तापदिमान चालवृक्षानुदकपदानेनानुकोशयिष्यामि । [अय्ये, उवहार- मुमगारणो सम्मानदो अस्समो। अस्ममपटपिमवेण अहिओ देवरमुदाआरो।

·48 . 3 प्रतिमानाटके ताजाव अय्यउत्तो ण आदि दाब इमाण वाळवाणं उदअप्पदापन अणुक्मोसइस्स ।] तापसी-अविघ्नमस्य भवतु । [अविग्ध से होदु।] (प्रविश्य) रामः-(सशोकम् ) त्यक्त्वा तां गुरुणा मया च रहितां रम्यामयोध्यां पुरीम् उद्यभ्यापि ममाभिषेकमखिलं मत्सन्निधापागतः । रक्षार्थ भरतः पुनर्गुणनिधिस्तत्रैव सम्प्रेपितः कष्ट भो नृपतेधुरं सुमहतीमेकः समुत्कर्षति ॥१॥ * (विमृश्य) ईदृशमेवैतत् । यावदिदानीमीदृशशोकविनोदनार्थमवस्या- कुटुम्बिनीं मैथिली पश्यामि । तत् व नु खलु गता वैदेही । (परिक्रम्य, अवलोक्य) अये, इमानि खलु प्रत्यग्रामिपिक्तानि वृक्षमूलानि अदूरगता मैथिली सूचयन्ति । तथा हि । भ्रमति सलिलं वृक्षारतें सफेनमवस्थितं पितपतिता नैते शिष्टं पिबन्ति जलं सगाः। म्थलमभिपतन्त्याः कीटा बिले जलपूरिते नववलयिनो वृक्षा मूले जलक्षयरेयया ॥२॥ (पिरोक्य) अये, इयं वैदेही । भो. कष्टम् ! योस्याः करः श्राम्यति दपणेऽपि य नैति रोई कलमं वहन्त्याः। कष्टं वनं स्त्रीजनमारमार्य ममं लताभिः कठिनीकरोति ॥३॥ ' (उपेय) मैथिलि, अपि तपो वर्धने ! 7 ·पञ्चमोऽङ्कः 49. 15 11 12 11 15 15 'सीता-हम् आर्यपुत्रः ! जयत्वार्यपुत्रः ! हिं अय्यउत्तो ! जेदु अय्यउत्तो !] रामः-मैथिलि, यदि ते नाम्ति धर्मविनः आस्यताम् । " सीता-यदार्यपुत्र आज्ञापयति । [जं अय्यउत्तो आणवेदि।] (उपविशति) " रामः-मैथिलि, प्रतिवचनार्थिनीमिव स्वां पश्यामि । किमिदम् ! • " सीता-शोकशून्यहृदयस्येवार्यपुत्रस्य मुखरागः । किमेतत् ! [सोअमुण्णहिअअस्स विअ अय्यउत्तस्स मुहराओ । किं एदं ?] " रामः-मैथिलि, स्थाने कृता चिन्ता । कृतान्तशल्याभिहते शरीरे तथैव तावद् हृदयव्रणो मे । नानाफलाः शोकशराभिघातास्तत्रैव तत्रैव पुनः पतन्ति ॥ सीता--आर्यपुत्रस्य क इव सन्तापः ? [अय्यउत्तस्म को विअ सन्टामो ? ] रामः-स्तत्रभवतस्तातस्यानुसंवत्सरश्राद्धविधिः। कल्पविशेषण निवपनक्रियामिच्छन्ति पितरः। तत् कथं निर्वर्तयिष्यामीत्येतञ्चिन्त्यते । अथवा गच्छन्ति तुष्टिं खलु येन केन ते एव जानन्ति हि तां दशा मे । इच्छामि पूजां च तथापि कर्तु तातस्य रामस्य च सानुरूपाम् ॥५॥ सीता-आर्यपुत्र, निर्वर्तयिष्यति श्राद्धं भरत ऋद्धया; अवस्था- नुरूपं फलोदकेनाप्यार्यपुत्रः । एतत् तातस्य बहुमततरं भविष्यति । [अय्यउत्त, पित्तदस्मटि सद्धं भरदो रिदीए; अपलाणुरुवं फलोदएण वि अन्यउत्तौ । एद ताटस्स बहुमदअर भविस्सदि। 17 19 9 ·.50 प्रतिमानाटो १) 91 23 BJ । 25 राम:- मैथिलि, " फलानि दृष्ट्वा दर्भेषु स्वहस्तरचितानि नः । स्मारितो वनवासं च तातस्तत्रापि रोदिति ॥६॥ (ततः प्रविशति परिबाजपो रावणः) .रावण:---एप भोः। नियतमनियतात्मा रूपमेतद् गृहीत्या खरवधकृतवैरं राघवं वञ्चयित्वा स्वरपदपरिहीनां हव्यधारामिवाह जनकनृपसुतां तां हर्तुकामः प्रयामि ॥७॥ (परिकभ्याधो विटोस्य) इदं रामस्याश्रमपदद्वारम् । यावदवतरामि । (अवतरति) यावदहमप्यतिथिसमुदाचारमनुष्ठास्यामि । अहमतिथि । कोऽल भोः रामः-(श्रुत्वा) स्वागतमतिथये । रावणः-साधु, विशेपितं खलु रूपं स्वरेण । रामः--(विलोक्य) अये भगवान् ! भगवन् , अभिवादये। रावणः-स्वस्ति । रामः--भगवन्, एतदासनमाम्यताम् । रावणः-(आत्मगतम् ) कथमाजह इवाम्यनेन (प्रकाशम्) (उपविशति) रामः--मैथिलि, पाद्यमानय भगवते । सीता--यदार्यपुत्र आज्ञापयति । (निष्प्रभ्य, प्रविश्य) इमा आप. [ज अय्यउत्तो आणदि। (निष्कम्य, प्रविश्य) इमा आवो । ] . mamme 96 97 Rc. 21 9 1 बाढम् । 3 31 ·पञ्चमोऽङ्कः 50160 51 34 35 37 11 31 2 41 रामः-शुश्रूपय भगवन्तम् । सीता-यदार्यपुत्र आनापयति । [जं अय्यउत्तो आगदि ।] रावणः--(मायाप्रागनपालो भूत्वा) भवतु भवतु । " इयमेका पृथिव्यां हि मानुपीणामरुन्धती । यस्या भर्तेति नारीभिः सत्कृतः कथ्यते भवान् ।।८।। रामः तेन हि आनय; अहमेव शुश्रूपमिप्ये ! C. रावण:-अपि, छोयो परिहृत्य शैरीरं न लवयामि । वाचानु- वृत्तिः खल्वतिथिसत्कारः। पूजितोऽम्मि । आस्वताम् । रामः---बाढम् । (उपविगति) 'रावणः-(आत्मगतम्) यावदहमपि ब्राह्मणसमुदाचारमनुष्ठास्यामि। (प्रकाशम्) भोः ! काश्यपगोत्रोऽस्मि । साङ्गोपाङ्गं वेदमधीये, माननीय धर्मशास्र, महेश्वरं योगशास्त्र, 'चीहस्पत्यमर्थशास्त्र, मेघीतिअायशास्त्र, प्राचेतस श्राद्धकरूपं च । रामः कथं कथं श्राद्धकल्पमिति ! रावणः---सर्वा. श्रुतीतिकम्य श्राद्धकल्प म्पृहा दर्गिता । किमेतत् । रामः--भगवन् , भ्रष्टाया पितृमत्तायामागम इदानीमेप. । रावणः-अलं. परिहत्य | पृच्छतु भवान् । रामः--भगवन् , निरफ्नक्रियागले केन पितम्तर्पयामि रावणः-सर्व श्रद्धया दतं श्राद्धम् | रामः--भगवन् , अनादरतः परित्यस्तं मरति । विगेपार्थ न्यामि। 13 . 15 18 Satistics - B ·52 प्रतिमानारद 19 , . - 59 1 52 53 35 रावणः---श्रूयताम् । विरूद्वेषु दी , ओषधीषु तिला , शाकेषु, मत्स्येपु महाशफर , पक्षिषु वार्धाणस , पशुपु गौ , सद्गो, ५ इत्येते मानुपाणा विहिता । रामः-भगरन् , 'वाशब्दे नावगतमन्यदप्यम्तीति । रावण:-अस्ति प्रभावसम्पाद्यम् । रामः---भगवन् , एष एवं मे निधय । उभयस्यास्ति सान्निध्यं यदेतत् साधयिष्यति । धनुर्या तपसि श्रान्ते श्रान्ते धनुपि वा तपः ॥९॥ रावणः सन्ति । हिमवति प्रतिवसन्ति । रामः---हिमवतीति । ततस्तत ? " रावणः----हिमवत सप्तमे शृङ्गे प्रत्यक्षस्थाणशिर पतितगङ्गाम्बु- पायिनो वैश्यामपृष्ठा पवनसमजया काञ्चनपा नाम मृगा यवैखानसवालखिल्यनैमिशीपादयो महर्षयश्चिन्तितमात्रोपस्थितविपन्न श्राद्धानि अभिवर्धयनि। स्वर्पिताः सुतफल पितरो लभन्ते हिला जरा समुपयान्ति हि दीप्यमानाः। तुल्य सुरैः समुपयान्ति पिमानासम् आपतिभिश्च विपन बलाद् भियन्ते ॥१०॥ रामः---मैथिलि, आपृच्छ पुत्रकृतकान् हरिणान् द्रुमाश्च विध्य वन तर ससीदयिता लताश्च । 53 का ias 53 59 ·पञ्चमोऽङ्कः 53 to stay वत्स्यामि वेषु हिमबहिरिकाननेषु दीप्तैरिवोपधियनेरुपरञ्जितेषु ॥११॥ सीतापदार्यपुत्र आनापयति । निं अय्यउत्तो आगदि । ] रावणः--कौसल्यामातः, अलमतिमनोरथेन । न ते मानुपैः 63 61 दृश्यन्ते । 61 65 R.C 16 63 रामः-भगवन् , किं हिमवति प्रतिवसन्ति ? रावण:-अथ किम् । रामः-तेन हि पश्यतु भवान् । सौवर्णान् वा मृगांस्तान मे हिमवान् दयिष्यति । मिनो मद्राणवेगेन क्रौञ्चत्वं वा गमिष्यति ॥१२॥ रावण:-(म्बगतम्) अहो असह्यः सत्यस्यावलेपः ! रामः-(दिशो पिरोकर) अये, विद्युत्सम्पात इव दृश्यते ! रावणः----(प्रभागम् ) कौसल्यामातः, इहस्यमेव मवन्तं पूजयति हिमवान् । एप काञ्चनपाश्चः । "सिमः-भगवतो वृद्धिरेषा सीता-दिपयार्यपुत्रो वर्वते । दिद्विआ अय्यउत्तौ वट्टइ।] गमः--नन; तातस्यैतानि भाग्यानि यदि स्वयमिहागतः। अर्हत्येप हि पूजायां लक्ष्मण हि मैथिलि ॥१३॥ 'सीताआर्यपुत्र, ननु तीर्थयात्रात उपेवितमान कुलपनि प्रत्युदन्छेति मन्दिष्टः सौमित्रिः? [अय्यउत्त, ण नित्यभचाटो ठवाबत्तमा 'गुळवटि पच्चुग्गच्छेदित्ति मन्दिही सीमिती?] पृजा तत् गमिति 11 ननु ·54 प्रतिमानाटो ८ 76 70 79 80 रामः- तेन हि अहमेव यास्यामि । सीता--आर्यपुत्र, अह कि करिष्यामि । [अय्यउत्त, अह किं करिस्स]] राम:- शुश्रूपयस्व भगवन्तम् । सीता-यदार्यपुत्र आज्ञापयति । [ज अयउत्तो आणवेदि । ] (निष्क्रान्तो राम) रावणः-अये, अयमय॑मादायोपसर्पति राघव. । एष इदानीं पूजामनवेक्ष्य धावन्तं मृग दृष्ट्वा धनुरारोपयति राघव । अहो बलमहो वीर्यमहो सत्त्वमहो जवः ! सिम इत्यक्षरैरल्पैः स्थाने व्यासमिदं जगत् ॥१४॥ एष मृग एकप्लुतातिकान्तशरविषयो वनगहन प्रविष्ट । 81 सीता--(आमगतम् ) आर्यपुत्रविरहिताया भय मेऽत्रोत्पद्यते । [अग्यउत्तविरहिटाए भ मे एवं उपजइ । ] रावणः- मायर्यापहते रामे सीतामेकां तपोवनात् । हरामि रुटती बालाममन्त्रोक्तामियाहुतिम् ।।१५।। ७७ सीता-यावदुटज प्रनिशामि । [जार उन्ज पविसामि । 1] (गन्तुमीहते) रावणः-(स्वरूप गृहीत्या) सीते, तिष्ठ तिष्ठ । सीता--(मभयम् )हम्! क इदानीमयम् । [ह का दाणि अअ ?] रावण:-कि न जानी ? ह युद्धे येन सुराः सदानवगणाः शक्रादयो निर्जिताः दृष्ट्या शूर्पणसाविरूपकरणं श्रुत्वा हतौ भ्रातरौ । 84 45 80 87 ·55 33 . 89 90 . , 91 - 93 पञ्चमोऽङ्कः दर्पाद् दुर्मतिमप्रमेयवलिनं राम विलोम्य च्छलैः स त्वां हर्तुमना विशालनयने प्राप्तोऽस्म्यहं रावणः ||१६]] सीता--हं रावणो नाम ! [हं ळावणो णाम !] (प्रतियते), रावण: --आः ! रावणस्य चक्षुपियमागता के यास्यसि ? "सीता--आर्यपुत्र, परित्रायत्व, परित्रायस्व । सौमित्रे, परित्रायस्व परित्रायस्व ! [अय्यउत्त, परित्ताआहि, परित्ताआहि । मोमित्ती, परित्ता. आहि परित्ताआहि !] रावणः-सीते, श्रूयतां मत्पराक्रमः | भग्नः गक्रः कम्पितो वित्तनाथ: कृष्टः सोमो मर्दितः सूर्यपुत्रः। धिग् भोः! वर्ग भीतदेनिविष्ट धन्या भूमिवर्तते यत्र सीता ॥१७॥ सीता--आर्यपुत्र, परित्रायम्ब, परित्रायस्व ! सौमित्रे, परित्रायस्व परित्रायस्व माम् ! [अव्यउत्त, परित्ताआहि, परित्नाआहि ! सोमिती, परित्ताआदि, परित्ताआहि म ! ] रावणः-- रामं या शरणमुपेहि लक्ष्मणं या स्वर्गस्थं दशरथमेव वा नरेन्द्रम् । किं वा स्याद् कुपुरुषर्सश्रितैर्वचोभिः न व्याघ्र मृगशिशवः प्रधर्षयन्ति ॥१८॥ "सीता--आर्यपुत्र, परित्रायस्थ, परित्रायस्व ! सौमित्रे, परित्रायस्व परित्रायस्व माम् ! [भय्यउत्त, परित्ताआहि, परित्ताआहि ! सोमित्ती, परिलाआहि, ऐनाएं ! 93 94 ·56 प्रतिमानाटरे 97 - 11 रावणः-विलपसि किमिदं विशालनेत्रे विगणय मां च यथा तयार्यपुतम् । विपुलवलयुतो ममैप योद्धं ससुरगणोऽप्यसमर्थ एव रामः ।।१९।। सीता--(सरोवम् ) शप्तोऽसि । [मत्तो सि ! ] रावणः-हहह ! अहो पतिमतायास्तेजः । 'योऽहमुत्पतितो वेगान्न दग्धः सूर्यरश्मिभिः । अस्याः परिमितैर्दग्धः सोऽमीत्येभिरक्षरैः ॥२०॥ सीता--आर्यपुत्र, परित्रायम्व, परित्रागस्व ! [अश्यउत्त, परित्तादि, पारत्ताआनि!] रावणः--(सीता गृहीत्वा) भो मो जनस्थाननिवासिनम्तपस्विनः! शृप्यन्तु शृण्वन्तु भवन्त. ! चलादेप दगग्रीनः सीतामादाय गच्छति । क्षारधर्म यदि स्निग्धः कुर्याद् रामः पराक्रमम्।।२शा सीता---आर्यपुत्र, परिवायम्य, परिवायस्व ! [अव्य उत्त परित्ताभाहि परिताआहि!) रापण:---(परिकामा विषय) अये, म्वपक्षपरनोल्प मित- वनपदश्चण्डचन्चुरभिधावत्येष जटायु ! आ , तिष्ठेदानीम् । 'मगारनिविंशतपक्षक्षनयुतः । रुधिररागावं सां नपानि यममादनम् ।।२२।। (निपान्ती) इति पञ्चमोशः 101 13 11 ·57 1 3 ॥ अथ पष्ठोङ्गः ॥ (ततः प्रविशतो बद्धतापसी) उभौ-परित्रायतां परित्रायतां भवन्तः । प्रथमः-इयं हि नीलोत्पलदामवर्चमा । मृणालशुक्रोज्ज्वलदंष्ट्रहासिना। निशाचरेन्द्रेण निशाचारिणा मृगीन सीता परिभृय नीयते ।।१।। द्वितीयः-~-एपा खलु तत्रभवती वैदेही- 'विचेष्टमानेव भुजङ्गमाङ्गना विधूयमानेव च पुष्पिता लता। प्रसह्य पापेन दगाननेन सा तपोवनात् सिद्धिरिवापनीयते ॥२॥ उभौ--परित्रायतां परित्रायतां मवन्तः । प्रथमः-(ध्यमवलोक्य) अये, वचनममकाल एव दशरथस्या- नृण्यं कर्तु मयि स्थिते क यास्यसीति रावगमायान्तरिक्षमुत्पतितो जटायुः! द्वितीयः :-एप रोपावृतनयनः प्रतिनिवृतो रावणः । प्रथम:- एष रावणः । द्वितीयः-एए जटायुः । " उभौ-- हन्तैतदन्तरिक्ष प्रवृत्तं युद्धम् ! प्रथमः--काश्यप, काश्यप, पश्च न्यादीश्वरम्य सामर्थ्यम् । पक्षाभ्यां परिभूय वीर्यविपर्य द्वन्द्वं प्रतिव्यूहते तुण्डाम्यां मुनिघृष्टतीक्ष्णमचलः संवेष्टन चेष्टते । 6 - 8 . 11 ·58 प्रतिमानाटक 13 15 15 तीक्ष्णरायसकण्टकरिव नसीमान्तर बक्षसो वाग्रेरिव दार्यमाणविपमाच्छैलाडिला पाट्यते ॥३॥ द्वितीयः हन्न, सकुद्धेन रापणेनामिना व्यादीश्वर स दक्षिणासदेवो हत । उभौ-इ धिक् ! पतितोऽत्रभान् जटायु प्रथमः---भो कष्टम् । एप ग्बलु तर भवान् जटायु । कृत्वा स्ववीर्यसदृशं परमं प्रयत्न क्रीडामयूरमिन अनुमचिन्तयित्वा । दीप्तं निशाचरपतेरमधूय तेनो नागेन्दभग्नमनवृक्ष इपायसन्नः ।।४।। उभौ-स्वर्यो मनु। प्रथम:-काश्यप, आगम्यताम् । इम वृजन्त तत्रभरते राघवाय निदयिप्याव! द्वितीयः-चादम् । प्रथम फल्य । (निप्रान्नी) नियम्भरः 17 13 19 1 "(तन प्रविशति का चुकाय) कान्नुकीयः :--- इह भी मायनतोरणद्वारमनन्य कुन्ते । " (प्रदिय) प्रतिहारी-आर्य, अहं पिज्या । किविताम् । [अप्य, अह विजया । गिदु । " सञ्चुकीयः--विनये, नियतां निवेधता भरतकुमारार- 'पम्बनुगमन गर्थ मन्यातप्रचित प्रतिन्तिममगन ममन्त्र इति।

·पठोऽङ्कः 59 83 37 १७ 30 31 प्रतिहारी—आर्य, अपि कृतार्थस्नातमुमन्त्र आगत ! [अध्य, अवि किटस्थो सादसुमन्तो आअटा] काञ्चुकीयः---भवति, न जाने । हृदयस्थितशोकाग्निशोपिताननमागतम् । दृष्ट्वाकुलमासीन्मे सुमन्त्रमधुना मनः ॥५॥ " प्रतिहारी-आर्य, एतत् श्रुत्या पर्याकुलमिय मे हृदयम् । [मध्य, एदं सुणिम पय्याउळ जिअ मे हिअ1] काञ्चुकीयः-भवति, किमिदाना स्थिता ? गीचं निवेद्यताम् । प्रतिहारी-आर्य, इयं निदयामि। [अन्य, इअं गिवेदेमि । ] (निकान्ता) काञ्चुकीयः--(पिलोक्य) अये, अयमनभवान् भरतकुमार, सुमन्त्रागमनजनितकुतूहलहदयवीरवल्कलचमनचित्र जटापुञ्जपिञ्जरितोत- माङ्ग इत एवाभिवर्तते । य एष., प्रख्यातसद्गुणगणः प्रतिपक्षकालः तिग्मांशुमतिलकत्रिदशेन्द्रकल्पः । आज्ञावशाढसिलभूपरिरक्षणस्थः श्रीमानुढारकलभेभसमानयानः ॥६॥ म (तत प्रविशति भरत प्रनिहारा च) भरतः-विजये, एसमुपगतस्तलभवान् सुमन्त्र. ! गत्वा तु पूर्वमयमार्यनिरीक्षणार्थ लब्धप्रमादशपथे मयि सनित्ते । दृष्ट्वा किमागत इहात्रभवान् सुमन्त्री राम प्रजानयनयुद्धिमनोमिरामम् ॥७॥ 2 . ७ ·60 प्रतिमानावे ST " 33 17 (निभान्ट) काञ्चुकीयः-(उपगम्य) जयतु कुमार । भरत:- -अध कस्मिन् प्रदेशे वर्तते तत्रभवान् सुमन्त्र काञ्चुकीयः -असौ काचनतोरणद्वारे। भरतः तेन हि गीत प्रवेश्यनाम् । " काञ्चुकीयः-पदाज्ञापयति कुमार । "(तत प्रविशति मुमत्र प्रतिहारी च) मुमन्त्रः-(सशोषम् ) कष्ट भो, कष्टम् ! "नरपतिनिधनं मयानुभृतं नृपतिसुतव्यसनं मयेर एम् । श्रुन इह म च मैथिलीप्रणाशो गुण र वहपराद्धमायुपा मे ॥८॥ प्रतिहारी-नम प्रभुदि य) ण्वेचार्य । एप मा। उपतु आर्य । [पतु एदु भन्या एमा भया । उपसप्पदु अया। मुमन्त्रः-(उामन्य) जयतु कुमार । भरत.-नात, अपि प्रन्यया रोशनिपिनुग्नेह । अनि दृष्ट द्विगमनमरम्पतीचारिसर । अदृष्ट लया रिसरणावहितावास सौहारम् । (मु न्य मचि नि१) " प्रतिद्वारी-मारक गन्याय पनि । [भरिमा गु भारपु.] मुमन्त्र.नि, निमार । भातः- मम्) अविमान नवापाम मन्तार दय । (47) गर्गा प्रनिरनवमयान । . " .

·62 प्रतिमानाने 65 7 20 71 भरतः कथ हृतेति ? (मोहमुपगत) सुमन्त्रः-समाश्वसिहि, समाश्वसिहि । भरतः –(पुन समाश्वस्य) भो कष्टम् । ४३ पिटा च बान्धाजनेन च विप्रयुक्तो दुःसं महत् समनुभूय वनप्रदेशे। भार्यावियोगमुपलभ्य पुनर्ममार्यों जीमूतचन्द्र इच खे प्रभया वियुक्तः ॥१२॥ 69 भो किमिदानी करिष्ये 2 भवतु दृष्टम् । अनुगच्छतु मा तात । सुमन्त्रः- यदाज्ञापयति कुमार । (उभौ परिकामत) सुमन्त्रः--कुमार, न खलु न खलु गन्तव्यम् । देवीना चतुश्शालमिदम् । भरत: -अत्रैव मे कार्यम् । भो ! क इह प्रतिहारे ? (पविश्य) प्रतिहारी-जयतु भर्तृदारक ! विजया खल्यहम् । [जेदु भावारओ। विजआ खु अह ! ] भरत:-विजये, ममासमनं निवेदयालभवत्यै । १७ प्रतिहारी-कतमस्यै महिन्यै निवेदयामि । [कदमाए भटिणीए णिवेदेमि १ ] भरतः—-या मा राजानामिच्छति । प्रतिहारी-(आत्मगतम् ) ह, कि नु खलु भवेत् । (प्रकाशम् ) भत , तथा । [ह, कि णु खु भव ? भट्टा, तह।] (निजाता) ७ (तत प्रतिशति कैकेयी प्रतिहारी च) कैफेयी-विजये, मा प्रेक्षितु भरत आगत ? [विजए, म पेक्खिटु भरतो आअदो १ ] 72 13 74 76 77 79 ·पाठोड 63 81 82 81 ७० प्रतिहारी-भट्टिनि, तथा | भर्तृदारकस्य रामस्य सकाशात् जातसुमन्त्र आगतः । तेन सह भर्तृवारको भरतो मट्टिनी प्रेक्षितुमिच्छति केल ! भिहिणि, तह । भटियारअस्म रामस्म सआसादो ताटसुमन्तो आअदो। वेग सह भहिदारओ भरटो भरिणि पेक्सिदुं इच्छदि किळ !] कैकेयी-(स्वगतम् ) केन खलुद्धातेन मामुपालप्स्यते भरतः ! फेण खु उग्पादेण में उवाळम्भिम्मदि भरदो 2] प्रतिहारी-भट्टिनि, किं प्रविशतु भर्तृदारकः ! भहिणि, कि पविसदु भट्टिदारओ ? ] । कैकेयी- गच्छ, प्रवेशयनम् । [गच्छ. पवेसेहि णं 1] प्रतिहारी--भट्टिनि, तथा । (परिकम्योपसर) जयतु भर्तृदारकः। प्रविशतु किल । [भत्रिणि, तह । (परिक्रम्योपसृत्य) जेटु भटिदारओ। विसदु किल।] भरतः-विजये, किं निवेदितम् ? प्रतिहारी-आम् । [आम । ] भरत:--तेन हि प्रविशावः । (प्रविशतः) कैकेयी-जात, विजया मन्त्रयते—'रामस्य सकागात् सुमन्त्र आगत' इति । [जाद, विअआ मन्तेदि-'रामरस मआमादो मुमन्तो अदो'त्ति भरत:--अतः परं प्रियं निवेदयाम्यत्रभवत्यै । कैकेयी--जात, अपि कौसल्या सुमित्रा च गनापयितव्ये ! [जाद, अवि कोसळा सुमित्ता अमदावइदम्बा ? ] मरत:- :--में खलु ताभ्यां श्रोतव्यम्। कैकेयी--(आत्मगतम् ) हम् ! कि नु खलु भरेत् । (प्रकाशम् ) भग, जात । [ ! किं णुह भवे ? (प्रमाशम् ) भगाहि, जाद । 85 88 17 69 91 91 ·64 प्रतिमानाटके 93 1 भरत:--श्रूयताम्--- यः स्वराज्यं परित्यज्य त्यन्नियोगानं गतः । तस्य भायी हृता सीता पर्याप्तस्ते मनोरथः ॥१३॥ 95 कैकेयी-हम् ! 98 ) 93 99 130 भरतः-हन्त भोः! सत्ययुक्तानामिक्ष्वाकूणां मनखिनाम्। वधूप्रधर्पणं प्राप्तं प्राप्यात्रभवती वधूम् ॥१४॥ " कैकेयी--(आत्मगतम् ) भवतु; इदानीं काल कथयितुम् । (प्रकाशम् ) जात, त्वं न जानासि महाराजस्य शापम् । [भवदु, दाणि काळो कहेउ । (प्रकाशम् ) जाद, तुक | आणासि महाराअस्स साम 13 भरतः--कि शप्तो महाराज । कैकेयी-सुमन्त्र, आचक्ष्व विस्तरेण । [सुमन्त, आअन वित्थरेण] सुमन्त्रः—यदाज्ञापयति भवती। कुमार, श्रूयताम् । पुरा मृगया गतेन महाराजेन कस्मिंश्चित् सरसि कलशं पूरयमाणो वनगज- बृहितानुकारिशब्दसमुत्पन्नवनगजशङ्कया शब्दवेधिना शरेण विपन्न- चक्षुषो महर्षेश्चक्षुर्भूतो मुनितनयो हिंसित । भरत:-~~-हिंसित इति । शान्तं पापं, शान्त पापम् ! ततस्तत । सुमन्त्र:-ततस्तमेवं गतं दृष्ट्वा-- तेनोक्तं रुदितस्यान्ते मुनिना सत्यभाषिणा। 'यथार्ह भोस्त्वमप्येवं पुत्रशोकादू विपत्स्यसे ||१५|| इति । 10 भरत:--नन्विदं कष्टं नाम ! QC105 कैकेयी- जात, एतन्निमित्तमपराधे मा निक्षिप्य पुत्रको रामो वनं प्रेपित ; न खलु राज्यलोभेन । अपरिहरणीयो महर्पिशाप पुत्र- 101 109 103 ·65 108 107 109 120 19) पोऽ विप्रवास विना न भवति । [जाद, एदणिमित्तं अवराहे में णिम्पवित्र पुत्तो .मो वगं पेसिदो; गहु रबळोहेग | अपरिहरणीओ महरिसिमालो पुत्तविपनाम विणा ण होइ । भरत: -अथ तुल्ये पुत्रविप्रयासे कयमहमरण्यं न प्रेपितः ? कैकेयी-जात, मातुलकुले वर्तमानस्य प्रकृतीभूतस्ते विश्वासः । जाद, मादुळकुळे वत्तमागरम पडदीहूदो दे विषयासो।] भरतः-अथ चतुर्दश वर्षाणि किं कारणमवेक्षितानि ! 10% कैकेयी-जात, चतुर्दशदिवसा इति वक्तुकामया पर्याकुल- हृदयया चतुर्दश वर्षाणीत्युक्तम् । [जाद, चउद्दस दिवस त्ति वस्तुकामार प्याउळहि अआए. चउद्दम वरिसाणि ति उसं।] भरत: -अस्ति पाण्डित्यं सम्यग् विचारयितुम् । अर वेदितमेतद् गुरुजनस्य ? सुमन्त्रः-कुमार, वसिष्ठवामदेवप्रभृतीनामनुमतं विदितं च भरत:- हन्त, त्रैलोक्यसाक्षिणः खल्वेते 1 दिष्ट्याऽनपराद्धा भवती ! अम्ब, यद्भातृस्नेहात् समुत्पन्नमन्युना मया दूषितात्रभवर्त तत् सर्व मर्पयितव्यम् । अम्ब, अमिवादये । 'कैकेयी-जात, का नाम माता पुत्रकस्यापराधं न मर्पयति. उत्तिष्ठोत्तिष्ठ । कोऽत्र दोषः । [जाद, का णाम मादा पुतअस्स अवराई , रिसेदि ? उष्टेहि, उठेहि । को एथ दोसो!] " भरतः-अनुगृहीतोऽस्मि । आपृच्छाम्यत्रभवतीन् । अद्यैवाह- मार्यस्य साहाय्यार्थ कृलं राजमण्डलमुद्योजयामि ! अर्थमिदानी, वेलामिमां मत्तगजान्धकारां करोमि मैन्यौपनिवेशनदाम् ।। 111 112 111 11 116 .

·66 प्रतिमानायके 14 बलैस्तरद्भिश्च नयामि तुल्यं ग्लानिं समुद्रं सह रावणेन ॥१६॥ अये, शब्द इव ! तूर्ण ज्ञायतां शब्दः ! 17 (प्रविश्य) प्रतिहारी-जयतु कुमारः ! इमं वृत्तान्त श्रुत्वा ज्येष्ठभट्टिनी मोहं गता ! जेदु कुमारो ! इमं वृत्तनं सुणि अ जेभहिणी मोहं गआ!] II कैकेयी-हम् ! भरत:--कथं मोहमुपगताम्बा ! 19 कैकेयी-एहि जात, आर्यामाश्वासयिष्यावः । [एहि जाद, अय्यं अस्सासदस्सामो।] भरत:-यदाजापयत्यम्बा । (निष्क्रान्ता समें) इति षष्ठोऽङ्कः 119 181 1 ।। अथ सप्तमोऽङ्कः॥ (ततः प्रविशति तापस ) तापस:-- नन्दिलक, नन्दिलक ! " (प्रविश्य) नन्दिलक:-आर्य, अधमस्मि । अय्य, अअ हिा!] तापसः नन्दिला, कुलपतिर्विज्ञापयति "एष खल स्वदारापहारिणं त्रैलोक्यविद्रावणं रावणं नाशयित्वा राक्षसगणविरुद्धवृत्तं गुणगणविभूषण विभीषणमभिषिच्य देवदेवर्षि सिद्धविमलचारित्रां तत्र. भवती सीतामादाय ऋक्षराक्षसवानरमुख्यैः परिवृतः सम्प्रातस्तत्रभवान् ·सामोऽङ्कः 67 1 6 तेषां भक्षण- 7 शरद्विमलगगनचन्द्राभिरामो राम तदद्याम्मिन्नाश्रमपदेऽस्मद्विभवेन यत् सङ्कल्पयितव्यं तत् सर्व सजी क्रियताम्" इति । नन्दिलक:-~आर्य, सर्व सज्जीकृतम् । किन्तु.... [अव्य, मन्वं सनीक्दिं । किन्तु } तापस:-स्मितत् । नन्दिलका ---अत्र विभीषणसम्बन्धिनो राक्षसाः । निमि कुलपतिः प्रमाणम् । [एल्थ विमीसणफेरआ रक्खसा। तेसं मकवणणिमित्तं कुळपदी पमाणं ।] तापमः-किमर्थम् ? नन्दिलक:-~ते खलु म्यादन्ति ! ते खुपजन्ति ! ] तापस:-अलमलं सभ्रमेण । विमीपणविधेयाः खलु राक्षसाः । नन्दिलका-नमो राक्षससजनाय । णमो रावससमगा1] (निधान्त:) तापस:--(विलोक्य) अये, अयमत्रभवान् राघवः । य एषः, जय नरवर ! जेयः स्याद् द्वितीयस्तयारि- स्तव भवतु विधेया भूमिरेकातपत्रा । इति मुनिभिरनेकैः स्तूयमानः प्रसन्नैः क्षितितलमवतीर्णो मानवेन्द्रो विमानात् ॥ १ ॥ जयतु ! भवान जयतु! (निधान्तः) 9 1D 19 13 "मिथविष्कम्भकः ·68 प्रतिमानाटके 15 18 17 19 (ततः प्रविशति रामः) राम:-भो ! समुदितबलवीय रावणं नाशयित्वा जगति गुणसमग्रां प्राप्य सीतां विशुद्धाम् । वचनमपि गुरूणामन्तशः पूरयित्वा मुनिजनवनवासं प्राप्तवानस्मि भूयः ॥२॥ 15 तापसीनामभिवन्दनार्थमभ्यन्तरं प्रविष्टा चिरायते खलु मैथिली। (विलोक्य) अये, इयं वैदेही ! सखीति सीतेति च जानकीति यथावयः स्निग्धतरं स्नुपेति तपस्विदारैर्जनकेन्द्रपुत्री सम्भाष्यमाणा समुपैति मन्दम् ॥३॥ (ततः प्रविशति सीता तापसी च) ॥ तापसी-हला, एप ते कुटुम्बिक । उपसपैनम् । न शक्य त्वामेकाकिनी प्रेक्षितुम् । [हळा, एसो दे कुड्डुम्पिओ। उक्सप्प ण । ण सक तुम एआइणि पेक्खिदु ।] सीता-हम् ! अद्याप्यविश्वसनीयमिव मे प्रतिभाति । (उपसृत्य) जयत्वार्यपुत्रः । [ह ! अज वि अविस्ससणीअ विश्रमे पडिमादि । (उपसृत्य) जेदु अय्यउत्तो !] रामः-मैथिलि, अपि जानासि पूर्वाधिष्ठानमस्माकं जनस्थान- मासीत् ? अन्यत्र ज्ञायन्ते पुत्रकृतका वृक्षाः? " सीता-जानामि जानामि, अवलोकितपत्रका उल्लोकयितव्या R & Apol 1975 ) 20 22 , ·69 95 98 29 27 सप्तमोऽङ्कः इदानीं संवृत्ताः । ] [जाणामि जाणामि, आळोइअपत्ता उन्लोभइदम्वा दाणिं सबुत्ता। रामः- एवमेतत् । निम्नस्थलोत्पाटको हि कालः । मैथिलि, अप्युपलभ्यतेऽस्य सप्तपर्णस्याधस्ताच्छुक्लवाससं भरतं दृश परित्रस्तं मृगयूथमासीत् ! सीता-आर्यपुत्र, दृढं खलु स्मरामि! [अय्यउत्त, दिदं खु सुमरामि) रामः--अयं तु नस्तपसः साक्षीभूतो महाकच्छः । अत्रास्मा- मिरासीनस्तातस्य निवपनक्रियां चिन्तयद्भिः काञ्चनपाश्वो नाम मृगो दृष्टः । " सीता-हम् ! आर्यपुत्र, मा खलु मा खल्वेवं मणितुम् ! [ई, अन्यउत्त, मा खु मा खु एवं मणिदुं । ] (मीता वेपते) रामः-~-अलमलं सम्भ्रमेण ! अतिक्रान्तः खल्वेप कालः । (दिशो अवलोक्य) अये कुतो नु " रेणुः समुत्पतति लोध्रसमानगौरः। COyen सम्प्रावृणोति च दिशः पवनावधूतः । शङ्खध्वनिश्च पटहस्वनधीरनादैः .) सम्मूर्छितो बनमिदं नगरीकरोति ||४|| " (प्रविश्य) लक्ष्मण:-~-जयत्वार्यः ! आर्य, अयं सैन्येन महता त्वदर्शनसमुत्सुकः । मातृभिः सह सम्प्राप्तो भरतो भ्रातृवत्सलः ॥५॥ रामः--वत्स लक्ष्मण, किमेवं भरतः प्राप्तः ! लक्ष्मणः-आर्य, अथ किम् ? रामः-मैथिलि; श्वश्रूजनपुरोग भरतमवलोकयितुं विशाली- 30 32 33 . क्रियता ते चक्षुः।

·70 प्रतिमाना 35 33 39 40 सीता-~-आर्यपुत्र, एष्टन्ये काले भरत आगतः । [अय्यउत्त, इच्छिदब्वे काळे भरदो आअदो।] 37 (तत प्रविशति भरतः समातृकः) भरतः-तैस्तैः प्रवृद्धविपर्यविपमैर्विमुक्त मेधैर्विमुक्तममलं शरदीव सोमम् । आर्यासहायमहमद्य गुरुं दिक्षुः प्राप्तोऽस्मि तुष्टहृदयः स्वजनानुबद्धः ॥६॥ रामः-अम्बा, अभिवादये। सर्वाः-- जात, चिरं जीव ! दिष्टया वर्धामहे अवसितप्रतिज्ञ त्या कुशलिनं सह वध्वा प्रेक्ष्य । [जाद, चिर जीव । दिछिआ बवामो अवसिदपडि ण्ण तुम कुसळिण सह वहूए पेक्स्त्रिभ । ] रामः- अनुगृहीतोऽस्मि । लक्ष्मणः-अम्बा , अभिवादये। सा:--जात, चिरं जीव । हजाद, चिर जीध ।] लक्ष्मण:-~-अनुगृहीतोऽस्मि । " सीता--आयी , वन्दे । [अय्या, वन्दामि।] * सर्वाः-- वत्से, चिरमगला भव । [वच्छे, चिरमाळा होहि । ] सीता-अनुगृहीताऽसि । [अगुग्गहिदमि । ] भरतः --आर्य, अभिवादये भरतोऽहमस्मि । रामः-एहि वत्स, इक्ष्वाकुकुमार, स्वस्ति, आयुष्मान् भव ! वक्षः प्रसारय कवाटपुटप्रमाण- मालिङ्ग मां सुविपुलेन भुजद्वयेन । ॥ ॥ " . 4 43 19 53 ·ससमोऽङ्कः 71 51 33 31 05 56 37 उन्नामयाननमिदं शरदिन्दुकल्पं प्रह्लादय व्यसनदग्धमिदं शरीरम् ॥७॥7 भरतः-अनुगृहीतोऽस्मि । आयें, अमिवादये भरतोऽहमस्मि । सीता--आर्यपुत्रेण चिरमञ्चारी भव । [अग्यउत्तेग चिरसञ्चारी होहि । भरत:-अनुगृहीतोऽस्मि । आर्य, अभिवादये । लक्ष्मणः-एयेहि वत्म, दीर्घायुभव । परिप्वजस्व गाढम् । (आलिगति) भरतः-- अनुगृहीतोस्मि । आर्य, प्रतिगृह्यतां राज्यभारः । राम:-वत्स, कथमिव ! कैकेयी-~जात, चिरामिलपितः स्वल्वेप मनोरथः । [जाद, चिरादिळसिदो खु एसो मणोरहो।] 31 (ततः प्रविशनि शनुमः) शत्रुमः-विविधैर्व्यसनैः क्लिष्टमक्लिष्टगुणतेजसम् । द्रष्टुं में त्वरते बुद्धी रावणान्तकरं गुरुम् ॥८|| " (उपगम्य) आर्य, शत्रुमोऽहममिवादये । रामः-एोहि वन्म, स्वस्ति ! आयुप्मान् भव ! शत्रमः- अनुगृहीतोऽस्मि | आयें, अभिवादये । सीता-वत्म, चिरं जीव । [वच्छ, जिर जीव । ] शत्रुमः-अनुगृहीतोऽस्मि । आर्य, अभिवादये । लक्ष्मणः-स्वस्ति; आयुष्मान् भव ! शत्रुमः-अनुगृहीतोऽस्मि | आर्य, एतौ वसिष्ठवामदेवी सद प्रकृतिमिरभिपेकं पुरस्कृन्य सद्दर्शनमभिलपतः । 52 69 " 66 ·72 67 १ 68 69 70 71 प्रतिमानाटके "तीर्थोदकेन मुनिभिः स्वयमाहतेन नानानदीनदगतेन तब प्रसादात् । V इच्छन्ति ते मुनिगणाः प्रथमाभिषिक्तं द्रष्टुं मुखं सलिलसिक्तमिवारविन्दम् ॥९॥ कैकेयी-गच्छ, जात । अभिलषाभिपेकम् । (गच्छ, जाद । अभिळसेहि अभिसेअ । ] राम: -यदाज्ञापयत्यम्बा । (निष्क्रान्तः) (नेपथ्ये) जयतु भवान् ! जयतु स्वामी ! जयतु महाराज ! जयतु देवा ! जयतु भद्रमुख ! जयस्वार्य | जयतु रावणान्तकः ! कैकेयी-एते पुरोहिता', कञ्चुकिन पुत्रकस्य मे विजयघोष वर्धयन्त आशीभिः पूजयन्ति ! [एदे पुरोहिदा, कञ्चुइणो पुत्तअस्स विजअघोस बहुअन्तो आसीहिं पूजअन्ति। सुमित्रा-प्रकृतयः परिचारकाः सज्जनाश्च पुत्रकस्य मे विजयं वर्धयन्ति ! [पइदीओ परिचारआ सनणा अ पुत्तअस्स मे विजवअन्ति] 13 (नेपथ्ये) भो भो जनस्थानवासिनस्तपस्विन ! शृण्वन्तु शृण्वन्तु भवन्तः! " हत्या रिपुप्रभवमप्रतिम तमोघ सूर्योऽन्धकारमिव शौर्यमयैर्मयूखैः । सीतामवाप्य सकलाशुभवर्जनीयां रामो महीं जयति सर्वजनाभिरामः ॥१०॥ कैकेयी--अम्महे, पुत्रस्य मे विजयघोषणां वर्धते । [अम्महे, पुत्तस्त मे मिजअधोमगा वहइ !] ह 79 15 ·(10) सप्तमोऽङ्कः 73 11 १३ १७ 1" (ततः परिशति कृतामिको रामः सपरिवार) रामः-(विलोक्यारो) मोम्तात ! " स्वर्गेऽपि तुष्टिमुपगच्छ विमुञ्च दैन्यं कर्म त्वयाभिलपितं मयि यत् तदेतत् । राजा किलास्मि भुवि मत्कृतभारवाही धर्मेण लोकपरिरक्षणमम्युपेनम् ॥११॥ भरतः-अधिगतनृपशब्दं धार्यमाणातपत्र वकसितकृतमालिं तीर्थतोयामिपिक्तम् । गुरुमधिगतलीलं चन्द्यमानं जनोधै- नवमशिनमिवार्य पश्यतो मे न तृप्तिः ।।१२।। शत्रुमः-एतढार्यामिण कुलं मे नष्टकल्मपम् पुनः प्रकाशतां याति मोमम्येवोदये जगत् ॥१३॥ राम:-चन्म लक्ष्मण, अधिगतराज्योऽहमम्मि । लक्ष्मण:--दिष्टया भवान् वर्धते ! 11 (प्रविश्य) काञ्चुकीयः-जयतु महाराजः ! एप खलु तत्र- भवान् विमीषणो मित्रापाति---" सुग्रीवनीलमेन्दजाम्बबद्धनूमन्प्रमुम्वा- श्वानुगच्छन्नो विनापन्नि---'दिष्ट्या भवान् वर्धत' इति । गमः--सहायाना प्रसादाद्वधत इति कथ्यताम् । काञ्चुकीयः यदानापानि महागजः । कैकयी बन्या ग्वन्यन्मि । इममभ्युदयमयोव्याया प्रेक्षितुम् इन्ठामि । [पणा खुसि । इदं अमुअा अओझाभ पेकिम्बदु इच्छामि।] 0 91 ३ ८५ ·74 87 (सर्वे आरोहन्ति 89 प्रतिमानाटके रामः-द्रक्ष्यति भवती 1 (विलोक्य) अये, प्रभाभिर्वनमिद- मखिलं सूर्यवत् प्रतिभाति । (विभा०य) ज्ञातम् ! सम्प्राप्तं पुष्पर्क दिति रावणस्य विमानम् । कृतसमयमिद स्मृतमात्रमुपगच्छतीति । तत् सर्वैरारुह्यताम् । राम:- अद्येच यास्यामि पुरीमयोध्यां सम्बन्धिमित्रैरनुगम्यमानः । लक्ष्मण:- अद्यैव पश्यन्तु च नागरास्त्वां चन्द्रं सनक्षत्रमिवोदयस्थम् ॥१४॥ ७० (भरतवाक्यम्) यथा रामश्च जानक्या बन्धुभिश्च समागतः । तथा लक्ष्या समायुक्तो राजा भूमि प्रशास्तु नः ॥१५॥ (निष्का-ताः सरें) इति सप्तमोऽङ्कः 89 । प्रतिमानाटकं समाप्तम् ॥

·76 प्रतिमामाटके १-२ २-३ चरति पुलिनेषु चीरमानोत्तरीयाणा छनं सन्यजनं जय नरवर तं चिन्तयामि सं स्मृन्वा शुल्कदोपं तन यास्यानि तपमड्यामकवच ४-२० ३-१२ ३-२५ ९-२० २-१६ निर्पणश्च कृतघ्नश्च निर्योगाद्भूषणान् पक्षा-यो परिभूय पतत्युत्थाय चोत्थाय पतितमिह शिरः पादोपभुक्ते तव पितुः प्राणपरित्यागं पिनुर्नियोगादह. पितुर्मे दो व्याधिः पितुर्मे नौरस पुत्रो पिना च वान्थवजनेन प्रख्यातसद्गणगण तवैव पुन ३-२० १-२२ फ्लानि दृष्ट्वा १-२० ३-१९ तानस्यैतानि भाग्यानि ताते धनुर्नमयि तीर्थोदकेन मुनिभिः तेनोक्त रुदित. तेतपिताः मुतफल तैस्त प्राद्धविषयः स्यत्वा तो गुरुणा स्यतया नेह त्रैलोक्यं दग्मुरामेव रखया राज्यपिग्या देन्द्रमानमधनस्य दुमा धावन्तीव पन्या गठ बने नरपतिनिधनं नरपतिनिधनं मय नुभूतं नगेन्द्रा यरमानिटप. नरीगां पुष्पागोच निसमनिसमा १-२४ ५-२२ यलादेप दशमीवः भामराकः भरतो वा भवेदाजा भ्रमति सरिलं मलार्थेऽनया म जाट. मम मातुः प्रियं मम मातुध मानुभ माययापते रामें मा म्वयं मन्युमुत्याय मुममनुपम मेदवलनिय युगक्षय यःम्पराग्यं परिलग्य याने महति में २-१२ २-२ १-१ ·पद्यसूची 77 १-१२ ४-२३ ७-१५ १-१८ यत्मत्यं परीतोपितोऽस्मि यथा रामथ यदि न सहसे यम्याः शक्रममो यावद्भविध्यति युद्धे येन मुराः २-११ 1-16 ४-२४ येन प्राणाय योऽम्या करः 1-30 2016 7-13 शरीरेऽरि. प्रहरति शुल्के विपणितं राज्यं शून्यः प्राप्तो यदि रथः शोकादवचनाद् राना श्रद्धेयः खजनम्य श्रुत्वा ते वनगमनं सक्त् स्पृशामि सखीति सीतेति सत्यमन्ध जितसोध सदृया इति महानिति समं बाप्पेण पतता समुदितबलवीर्य सीताभवः पातुं मुग्रीवो नंशितो सुचिरेणापि वाटिन सूर्य इव गर्न म ४-९ 16 ५-१८ २-१५ योऽहमुत्पतितो वेगान० रघोऽवतुर्थोऽयमजान् राज्ये त्वामभिपिच्य राम वा शरण रामलक्ष्मणयोर्मध्ये रामेणापि परिलतो रेणुः समुत्पतति वक्तव्य किश्चिदम्मामु वक्षःप्रमारय वनगमननिवृत्तिः वयमयशमा चीरेणार्यों 6-10 "-24 १-१४ सावन मा म्यग गर्न म्यगं 5-12 4-1 1-11 ·78 GRAMMATICAL IRREGULARITIES 59 11 105 108 10 101 Use of Parastai for Atmane आपृच्छ पुत्रकृतक न् हारणान् द्रुमाश्च v आपृच्छाम्यत्र भवतीम् vir Use of Atmane for Parasmar- अथ कस्मिन् प्रदेशे विश्रमिष्ये ? 111 एतस्मिन् वृक्षा तराविष्कृते देवकुले मुहूर्त विश्रमिष्ये 11 इमा दशरथस्य त्व प्रतिमा किं न पृच्छसे? Simplex for Causative- तात, अभिवादनक्रममुपदेष्टुमिच्छामि मातृणाम् ॥ मम हस्ते निक्षिप्त तव राज्य चतुर्दश वर्षा ते प्रतिग्रहीतुमिच्छामि Syntactical- मा स्वय मन्युमुगद्य । अलमुपहतासु स्त्रीवुद्धिपु स्वमाजवमुपनिक्षेप्तुम् 1 11 अलमिदानी महाराजोऽतिमा समप्य परयशमात्मान कम् परशङ्कामल कर्तुं गृह्यता भरतोह्ययम् ॥1 कुमार, अल गुरुजनापवाट ममिधातुम् अलमिदानी प्रणे प्रहर्तुम wr आयपुव, मा म्वल मा स वेव भगितुम् ॥ Anomalous formation - ताते धनुनमयि 11 मेग शुश्रूष यिष्ये ॥" आर्यपुत्र, न येतेगापि शुभूपयितव्य मुष्टु पत्रिह मग शुभूपयतु । तपस्यो मा भरत अश्रूपयतु ।" गुरुपयस्व भगत Use of it at the beginning of 1919- मे शापिना.मि न पाररभागि चेत् स्वराज्यम् with Of Compound- योग मामात v" पपीमात'" 83 " 128 . 10 PU ·79 SUBHASHITAS IN THE TEXT अतः पर न मातुः परिवादं श्रोतुमिच्छामि। 139 अतः परं प्रियं निवेदयाम्यनभवत्यै vis अतिमान्तः परवेष काल viian अंव मे कार्यम् vi अद्याप्यविश्वस्नीयमिव में प्रतिभाति viin अघन्यम्य मम कार्तवीर्यस्येव बाहुसहस्र नास्ति iii s अनादरतः परित्यक्तं भवति । विशेषार्थ पृच्छामि v3 अनुचरति शशात राहुदोषेऽपि तारा i lor-mf अनुत्तरममिहितम् iv los अपण्डितः सलु भवान् । अपरिहरणीयो महर्षिशापः पुत्रविप्रवास पिना न भवति vi 105 अपूर्वः सत्वस्यायासः । 10 अलमतिमनोरयेन vu अलमतिनेहेन iv 125 अलमिटानी व्रणे प्रहर्तुम् iv ", अलमुपहतासु स्त्रीत्रुद्धिषु स्वमार्जवमुपनिक्षेप्नुम् in असीमितद्भवेत् । अलं गुरुजनापवादमभिधातुम् ives अलं परिहत्य । पृच्छतु भवान् । अल्पं तुल्यशीलानि द्वन्द्वानि सुन्यन्ते । अवलोकितपत्रमा उल्लोक्यितन्या इदानीं संवृत्ताः viin अवलोकिनुमपि नेच्छति कुमारः iv ' 'अविनमम्य भवतु । अविज्ञ'तपुरुषविशेषाः सलु वानराः vi 85 अम्ति पाण्डित्य सम्यग्विचारयितुम् vi 110 अस्याः परिमितेर्दग्धः शतोऽसीत्येभिरक्षरै. अहो अाहितम् is ivs 5 45 . + ·80 PRATIMA-NATAKA 6 V अहो, असह्य. सल्यस्यावलेप ४ अर्हत्यपराध इतीदं गृहीतम् ।" अहो बलवान् मृत्युरेतामपि रक्षामतिकान्त: in sm अहो धात्रा सृष्ट...इत्यं वज्रकठिनम् in hin अहं कृतनिश्चयो युवतिरहितं लोकं कर्तुम् 1 139 इश्वाणा दालंकारस्त्वया धार्यते । 100 इदमपि तावदारमाभिप्रायमनुवर्तयितुमिच्छसि iv s1 इदानीमपि सन्देहः (कि क्षमा १ निर्मनस्विता) इदानी काल कयितुम् vid इयमेका पृषिमा हि मानुषीणामरुन्धती v " इंम्विधाः पुरुषविशेषाः इंदशीमापदं प्राप्नुवन्तीति विधिनितिक्रमणीयः । उपोपविश्य प्रवेष्टव्यानि नगराणीति सत्समुदाचारः i" एतत् श्रुत्वा पर्याकुलमिर मे हत्यम् vity एतत्तातम्य यदुमततर भविष्यति " एवं दोपो वर्धते एवं नृपतिहीना हि विलयं यान्ति वे प्रमाः iii एएम्ये काले भरत आगतः ॥ एहि दाम्या पुत्र ! मृते मोश्यामि in थं मयान् नीचरये प्रवर्तते ।। कष्ट भो नृपतेधुर मुमहतीमेक. समुपनि ।' पर्ट यनं साधनमोऽमार्य समं सताभिः पटिनीपरोति ।' का मत्यवस्था पर्नने । का नाम माता पुनम्यारा न मपति in शाम देवतमित्येर युस्तं नमपितुं शिra iti " तिः प्रतिरोधोऽयम् : inst नाni हिमूहले मगं गतेन महारानपारमूलेन चालिः न्या. यदिगा रिधोरपाय मयरिध मते मिप्याभिधापी पिता ivan fr पनपानिनाम् ! सिमानामपि परगनिरनं निपने ! ivn एवं गुरुरयम् in 16 २हि तावत् । १ ·SUBHĀSITAS IN THE TEXT 81 151 53 81 81 103 120 43 VI 12 13 कि रोषणाय रुचिर निघु पातकेषु । कुतः क्रोधो विनीताना लन्ना वा कृतचेतसाम् VI कुलञ्च नः सत्यधनम् iv 1 कृतसमयमिट स्मृतमात्रमुपगच्छतीति vm केन खलूदातेन मामुपालप्स्यते भरतः । कमेण शुश्रूषयि ये 10 87 क्षानधर्मे यदि स्निग्धः कुर्याद्रामः पराक्रमम् । गङ्गायमुनयोर्मध्ये कुनदीव प्रवेशिता 111 * गतायुरमृतेने जीवामि (इति मतिर्मम) 114 गुण इव यहपराधमायुपा मे 1999; गुणाः खल्वत। [* यान्ति वै प्रजाः ॥ गोपहीना यथा गावो विलय यान्त्यपालिताः। एव नृपतिहीना हि विलय * चिराभिलपित नल्वेष मनोरथः Vilm चीरे सल्वसि मत्सरी । प्राया परिहृत्य शरीर न ल्वयामि v 39 जीमूतचन्द्र इव खे प्रभया वियुक्तः vi 69 जीमामि शून्यस्य रथस्य सूतः 1 105 दुभय भविष्यति दैवतपूजा विश्रमश्च in I तपोवनात् सिद्धिरियापनीयते vi तस्या लोभोऽत्र, नास्माक भ्रातृराज्यापहारिणाम् १ 1123 तातस्तत्रापि रोदिति । तातस्यैतानि भाग्यानि यदि वयमिहागतः । तिर्यग्योनयोऽयुपकृतमवगच्छन्ति video ते खलु सादन्ति vs तेन हि उदकेन गुणेनात्र भवितव्यम् । तेन ह्यापच्छे भवन्तम् 13,mal त्यजति न च करेणुः पङ्कटम गजेन्द्रम् । श्रीन् दोषान् कोऽमिधास्यति ? 11 स्वया किं न कृतं नयम् । 91 9 117 167 ११ ·82 PRATIWANATAKA 17 15 73 VII Y lai 0 38 " 158 त्व विमपि वक्तुकामय। 49 दयता तत्वार्यपुत्र , सन्तप्यते सौमिनि । दशरथपुनो भरतोऽस्मि न कैग्या 18 . देशकाले निवेदयामि 35 दैवतोद्दिानामपि मानुपविश्वासतामा प्रतिमानाम् धन्या भूमिवर्तते यत्र सीता ५ ५ धर्मेण लोकगरिरक्षणमभ्युपेतम् विग्भो । विधेर्यदि बल पुरुषोत्तमेषु न सलु तावदायप्तामि। नगवेकाकिन्या हसितव्यम् । 35 मन रूपमाश्यम् । नहि नहि, रूपमादृश्यम् ।। ननु दीयते सलु प्रथमधाचन भरताय v ननु सहधर्मचारिणी सन्वहम् । नानाफग शोकरारामिनातास तत्रैव पुन पतति vs न न्याय परदोषमभिधातुम् avn नविद का नाम 0 नन्यतेनापि शुश्रूपयितव्य ww न मया गुरुपचनमतिकान्तपूर्वम् । नरनृपतिपिमरों नास्ति दाश मनानाम् । नवशशिनमिवायं पश्यतो मे न तृमि vu न भ्याघ्र मृगशिशव प्रधर्षयत्ति " न शक्नोमि रोष धारयितुम् । 7 शस्य वामेशदिनी प्रेक्षितुम् 1 1 न हि रूपमेव, स्वरयागाऽपि म एव ॥ नाम फेरमभिधीयमानमनभायश्चित्तनिर में प्रतिभानि 1 नाग्ने भवता राय तर भविष्यति ॥ नाय तपम्विनामुचित प्रम ॥ नापाण्यात विनायोध्या सायोध्या या राघव Mus निनन्यवादको दिकार , 33 125 TO - 113 . " ·83 SUBHĀȘITAS IN THE TEXT 166 157 निदोपदृश्या हि भवन्ति नायों यजे वियाहे व्यसने वने च 115 ननं दशरथ ने कालेन प्रेषितो रथ: its नोत्सहे श्लाघनीये काले वारयितुम् । पतति च वनवृक्षे यानि भूमि लता च । पापं सफलमस्तु ini ts ivs पारयन्यार्यपुनोऽलीमपि सन्यमिव मन्त्रयितुम् i" पापकं कृतम् । पित्रा मे दुष्कर कृतम् iv 12 प्रिय मे 10 पिपासातोंऽनुधावामि क्षीगतोया नदीमिव iii 83 पुनः प्रकाशता याति सोमस्येवोदये जगत् vita पुरुषाणां मातृदोषो न दोष 1v 3 प्रतिवचनार्थिनीमिव त्वा पदयामि । फले कस्मिन् स्पृहा तस्या येनाकार्य करिष्यति i 120 पहुदोषाण्यरण्यानि iior बहुवृत्तान्तानि राजकुलानि नाम i6361 भद्रोहादस्तु माताप्यमाता ni 123 भर्तृनाया हि नार्यः मवतः ख्यातेर्गुणैर्निर्जितः iv 103 भवान् स्वस्वस्मत्पक्षपातादेव नार्थमवेक्षते 1 1 मा खलु मा खत्वार्यपुनोऽमङ्गलं भणतु i 101 मा म्वलु मा सत्वेवं भणितुम् मा मैरममङ्गलवचनानि भाषिष्ठाः " मा स्वयं मन्युमुत्पाद्य परिहासे विशेषतः i 101 मृदुः परिभूयते (स्व जननिभृतः सर्वोऽप्ये मृदुः परिभूयते) in यकृते महति क्लेशे राज्पे मे न मनोरथः । 18 यदि जीवामि तावत्प्रयतिध्ये iv 1] यदि ते नास्ति धर्मविन, आस्यताम् । 10 पच्छया सलु मया महरफलमासादितम् iii st यशेव, द्वितीयं मे प्रियं श्रुतम् 83 VH it ·84 PRATIMA NATAKA 45 18 IVIN 79 64 81 110 वयमर्थिन 1 169 यद्येव न तदमिषेकोदक, मुखोदक नाम । यद्येव शोभन कृतम् । राज्य नाम मुहूर्तमपि नोपेक्षणीयम् राम इत्यक्षरैरल्पै स्थाने व्याप्तमिद जगत् । रामस्य रामसदृशेन पथा प्रयाति 10 11 रामो लक्ष्मणो वैदेहीययमक्रम ॥ राम प्रति गता बुद्धिरद्यापि न निवर्तते ॥ रुदन्तमार्यपुत्र पुनरपि रोदयति तात .v " रोदितव्य काले सौमित्रिण। धनुहीतम् । लोकेऽपूर्व स्थापयाम्येप धर्मम् ॥ 198 चधूप्रधर्षण प्राप्त प्राप्यानभवती वधूम् ४११० वाचानुवृत्ति सम्वतिथिसत्कार v३१ वालस्तु प्रणाम स्यादमन्त्रार्चितदैवत us विगणाय मां च यथा तवार्यपुत्रम् v 96 विशार्यत खलु लक्ष्मणस्य व्यापार 1v 33 विस्तरश्रवण मे मनसस्थैर्यमुत्पादयति प्रजतु, चरतु धर्म भर्नुनाया हि नार्य 1 107 ~ मातोऽति vr शरीरऽरि प्रहरति हृदये स्वजनस्तथा। शान्त पाप, शान्त पापम् शुसलुब्धा ननु प्रष्टय्या 110 सर्वथा नायमगन्धवस्य स्वरमयाग लेदयतीय मे हृदयम् । सशोभनीय गुम्प नाम। सर्वसमुदाचारमध्यस्थ नि बदसे मातरम् सर्व श्रद्धया दत्त श्राद्धम् ।" सहायानां प्रमाशदर्षन इति कन्यनाम् VII " साधु विशेपित सलु म्प स्वरेण ॥ मुठभापराध. परिजनो नाम। मुव्यक्तं प्रभवार्माति मूरे देवेन ताडितम् । 116 V 101 36 " 147

·VETRICAL ANALYSIS
85
14
.
स्थने कृता चिन्ता ॥
खजनादिति ? हन्त । नाति प्रतीकार ।
स्व पुत्र कुरुते पितुर्यदि वच परतत्र भो विम्मय ।
म्वगऽपि तुष्टिमुपगच्छ चिमुच दैन्यम् Wil 13
रामि रुदतौ पालाममन्त्रोकामियाहुतिम् ।।
हन्त श्रोत्यमाक्षिण सल्येते ! दिष्टयानपराधार भवती ! 1 13
हत निवेदितमप्रभुत्वम् ।
हत ! सर्वमुक्तमेव मया ॥
हस्तम्पशा हि मातृणामजलस्य जलापलि ॥
हहह ! अहो पतिनताय स्तेन ! 11
151
93
METRICAL ANALYSIS
अनुष्टुप् (श्लोक) - (75) 14, 6, 9-13, 15-17,19-21, 23, 25,
26-28, 31, ॥ 3,5,6,8-12, 15-18, 20, 1 5-7,9, 11,
13, 15, 17, 20, 21, 24, 25, v 3-5, II, 12, 14, 15, 19, 26,
28, 16, 8, 9, 14-15, 20-22, v. 5,9-II, 13-15, vu 5,
8, 13,15
पञ्चम स्पु सर्वन सप्तन द्विचतुर्थयो ।
गुरु पष्ट च पादानां चतुर्णा स्यादनुष्टुभि ।।
यसन्ततिलका-(22) 17, 8, 22, 11, 4, in 1, 2, 16, 22, 24,
v 10, 11, v 4, 6, 7, 12, vut, 6,7,9-11
उका वमन्ततिल्का तभनानगी ग ॥
मालिनी-(10)। 14, 22 1 10, 22, 10 10, 21, 17, ul,2,12
'मनमयपतष भरिमा भे!ि

·86
PRATIMA-NATAKA
शार्दूलविक्रीडितम्-(9) 1 3 5, 12, 19, iv 23, 27, v 1, 16, 15
सूर्याश्वैर्मसजस्ततास्सगुरव शार्दूलविक्रीडितम् ॥
उपजाति (Combination of इन्द्र & उपेन्द्रवत्रा)--19) : 1, us,
4, 16, 1v 9, 13, v 3,4,5, vi 16, vn 3
a) स्यादिन्द्रवत्रा यदि तो जगौ ग ।।
b) उपेन्द्रवना जतजास्ततो गौ ॥
शिसरिणी--(5) 1 14, 111 1, 2, 23, iv 7
रमै स्वैश्चिन्ना यमनसभला ग शिसरिणी ।
वशस्थम्-(4) m 14, 1v 20, 11, 2
जतौ तु वशम्थनुदीरित जरौ॥
पुष्पितामा-(4) 11 21, Iv 18 v 19, vib
अयुजि न युगरेफतो यकारो युजि च ननौ जरगाश्च पुष्पिताग्रा॥
हरिणी-(4)1 18, in 18, 178 v2
नसमरसला ग पड्वेदैहयैर्हरिणा मता ॥
इन्दवना-(3)129, 10 25, VI 14
म्यादिन्द्रवजा यदि तौ जगौ ग ॥
शालिनी---(3) 1 13, 19, v 17
मात्तौ गौ चच्छालिनी वेद लोकै ।
प्रहर्षिणी-(3) 1 30, v 6, v 18
त्र्याशामिर्मन नरगा प्रहर्पिणीयम् ॥
सुपदना-(2) 18, 12
हेया सप्तश्वषड्मिर्मरभनययुता म्लो ग सुवदना ॥
आया-(2) 12, 17
यस्या पादे प्रथमे द्वादशमानास्त पा तृतीयऽपि ।
भष्टादश द्वितीय चतुर्धके पञ्चदश सार्या ॥
स्रग्धरा-(1)117
म्रौर्याना त्रयेण त्रिमुनियतियुता सग्धरा कीर्तितेयम् ।।

·87 Staazas attributed to Bhasa in the Anthologies , 1 शार्ङ्गधरपद्धती- १ अस्या लाटे रचिता सीभिर्विभाव्यते चन्दनपत्रलेसा । आपाण्डुरक्षामपोगभित्तावनचाणत्रणपटिकेव ।। २ कपोले माजारः पय इति राँलेढि गाशिन- स्तरुच्छिद्रप्रोतान्चिसमिति करा सक्ल्यति । रतान्ते नल्पस्थान हरति वनिताप्यशुकमिति प्रभामत्तश्चन्द्रो जगदिटमहो विष्टवयति ।। ३ तीक्ष्ण रविस्तपति नीच इवाचिराय , शृङ्ग रुरुस्त्यजति मिनमिवाकृतज्ञ तोय प्रसीदति मुनेरिय चित्तमन्तः, कामी दरिद्र इव शोषमुपैति पकः ।। ४ दयिताबाहुपाशस्य कुतोऽयमपरो विधिः। जीययन्यर्पित कण्ठे मारयत्यपवर्जित ॥ ५ पेया सुरा प्रियतमामुखमीक्षणीय, ग्राह्यः स्वभावललितो विकटश्च वेषः। येनेदमीदृशमदृश्यत मोशवम, दीर्घायुरस्तु भगवान् स पिनाकपाणि ॥ 2 सदुक्तिरामृते- १ दम्पे मनोभवतरौ चालाकुचाम्भसभृतैरमृतै । निवलीकताल्वाला जाता रोमावली वही ।। २ प्रत्यासमविवाहमालविधौ देवाचनव्यग्रया दृष्ट्वाग्रे परिणेतुरेव लिखिता गङ्गाधरस्याकृतिम् । उन्मादस्मितरोमलजितरसैौर्या कथचिचिराद् पद्ध. स्त्रीपचनाप्रिये पिनिहितः पुष्पाञ्जलि. पातु व ॥ ३ पिरहिवनितावत्रौपम्य विमति निशापति गल्तिविभवस्यावाद्य द्युतिमरणा रवे. । अभिनयवधूरोपवादु करीपतनूनपा- दसरलजनारलेप रस्तुपारसमीरण.॥

·88
PRATIMANATAKA
3 सुभाषितावल्याम्--
१ कठिणहृदये मुश्च क्रोधं सुखप्रतिघातक
लिखति दिवसं यातं यातं यम किल मानिनि ]
वयसि तरुणे नैतक्तं चले च समागमे
भवात कलहो यावत्तावर सुभगे रतम् ।।
२ कृतककृतीयासख्यैस्त्वयात्म्यतिवञ्चिता
निभृतनिभृतैः कार्यालापैयाप्युएलक्षितम् ।
भवतु विदितं नेष्टाहं ते वृथा किमु खिटासे
ह्यहमसहना स्वं निःस्नेहः समेन सम गतम्. ।।
३ दुःखाते मयि दुःखिता भवति या दृष्टे प्रहृष्टा तथा
दीने दैन्यमुपैति रोषपरुषे पथ्य वचो भाषते ।
काल धेत्ति कथाः करोति निपुणा मत्संस्तवे रज्यति
भार्थी मन्त्रिवरा सखा परिजन सैका बहुत्य गता ।
४ बाला च सा यिदितपश्चंशरप्रपश्चा, तन्वी च सा स्तनभरोपचिताङ्गयष्टि ।
लजा समुद्रहति सा सुरतावसाने, हा कापि सा किमिव किं कथयामि तस्याः
4 सूक्तिमुक्तावल्याम्---
१ यदपि विबुधैः सिन्धोरन्तः कश्चिदुपार्जितं
तदपि सकल चारुस्त्रीणा मुखेषु विलोक्यते ।
सुरसुमनसः श्वासामोदे शशी च कपोल्यो-
रमृतमधरे तिर्यग्भूते विषं च पिलेचने ।।
'5'अभिनवभारल्याम् ( अभिनवगुप्तविरचितायाम् )
१ त्रेतायुगं तद्धि न मैथिली सा, रामस्य रागपटवी मृदु चास्य चेतः ।
लब्धा जनस्तु यदि रावणमस्य काय मोक्रत्य तन्न तिलशो न वितृप्तिगामी ।।
6 नाट्यदर्पणे (रामचन्द्रगुणचन्द्रविरचिते)
१ पादाक्रान्तानि पुष्पाणि सोम चेदं गिलातलम् ।
नूनं काचिदिहासीना मां दृष्ट्वा सहसा गता ||

·89 11 991: 11 PRATIMA-NATAKA (THE STATUES ) (At the end of the Nandi, then enters the Stage-Manager) 2 STAGE-MANAGER - May the protector (or the world), Rama, charming with a beautiful neck, pralect us in every (succesive) life;-Rama, who was Sita's husband, who was pleased with Sumantra (1. good counsel; 2. SUMANTRA, the charioteer and minister of his father), who had Laksmana as his companion, who on account of his queen was matchless among the focs of Rävapa, and so, wborn Vibhisana was like his own self. (Looking fouards the curtains Lady, please come here (Entering) ACTRESS—Here I am, sir, 3 STAOZ-MANAOER Lady, just sing ui a song now about this very autumnal acason, 6 ACTRESS Well, sir. (Sings) 7 Srage MANAGER - In this season, indeed, * There moves about on sandy beds the female swan with very great joy, wearing as it were a silk garment as white as Kasa flowers, (or living on the Kaya-covered bank (of a river)),... (Behind the curtain) Sır, sir1 10 (Listening) STAOR-MANAGER--Well, it is known. 11 Like the jovial portress, bustling in the king's palacc [2] (Lxeunt ambo) 13 PROLOGUE ·90 THE PRATIMĀ NĀTALA 11 Gold pots 13 (Entering) PORTRESS-Sır, which of the Chamberlaing is nearby? (Entering) CHAMBERLAIN-Lady, here I am, what shall I do) 15 PORTRESS-Sır, the great king Das aratha, whose gres! chariot 18 (or who is a Maharatha) never repulsed 10 the wars between the gods and demons, orders—"Let the materials (required) for the consecration of prince Rama that would invest him with regal powers be gathered soon 16 CHAMBERLAIN-Lady, every thing that was ordered by the great king, has been kept ready Look- 17 The (royal) umbrella together with the (camara) fans, as also the auspicious seat (throne) have been kept ready, with the drums announcing the occasion filled with sacred water and containing darbha and flowers are placed The chariot of success has also been yoked The citizens together with the ministers have arrived And that Revered Vasastha, the auspicious cause of all these, 19 on the dau (9) 18 Portress--If so, well done 19 CHAMBERLAIN-Ah, joy! O lady! 20 Now the subjects are made fortunate by the king who is going to consecrate on the earth the moon called Rama (4) PORTXES: --Please hasten, noblc sir, hasten 22 CHAMBERLAIN-Lady, here I hurry up (Exil) 2) PORTRE!-(Aforing round and beholding) Sambhavaka ! O noble Sambhavaka please go, you too hasten with the formalities of courtesy the Revered Priest on the words of the king (Going else here) Sarasita, o Saraukā! having gone into the concert hall inform the actors to be ready with a play that would suit the occasion In the mean while, I will report to the groat king that cvery thing hal been done 21 ·91 EVOLISH TRANSLATION 24 23 an (Then enter Avadatika holding a birch garment) AVADĀTIKĀ --- Ah! What a great misfortune! There was so much fear in me while bringing away this birch dress just for lun; how much more would it be in one who steals another's wealth greedily. I wish to laugh, as it were But, indeed, one should not laugh in solitude, 26 (Then enter Sita with retinue) 27 SITĀ-Maid, Avadauka looks like one with expression of fear What could this mean? 28 MAID-Princess, a scrvant is indeed easily liable to commit mistakes Shc must be guilty (of some thing). 29 SITĀ No, no, she wishes to smile as it were 30 AVADĪTIKĀ--(Going near) Hail Princess! Princess, I ith not at all guilty 31 Sir_Who asks you that? Avadatika, what is this neld in your left hand? 32 AVADĀTIKA-Princess, this is a brich-garment. 33 SITA-From whom was the birch garment brought ? 34 AVADATIKA-Please listen, princess, The Revered Reva, guarding the green-room, was requested by us for a Sprout of the Asoka irce whose stage purpose was over, But it was not given by her Hence, thinking that her fault deserved (such re action), this garment was brought away. 33 Siri-A sin has been committed Go; return it 36 AVADĀTIK.-- Princess, this was indeed brought by me for fun 37 SITĀMad girl! thus the fault grows, Go, return it ; give it back 38 AVADĀTIKĀ-As the princess commands. (Desires to depart) » SIT. -Friend, just come here 40 AVADĀTIKA-Princess, here I am. +1 Sird-Friend, does it appear well of me too? 42 AVADĀTIKA- Princess, a lovely figure indeed looks quite gracolul with anything on. Please wcar 11, process 7 ·92 THE PRATIMA NATAKA 43 SITA-Just bring it here (Receiving and wearing) Friend scc, docs it suit me now? 44 AVADĀTIKĀ - 'Suit you?' The bark garment bas become golden, as it were! 45 SITA-Vad, (how is it) you do not say anything? 46 MAID-No use of words These ihnlled bairs, spaat for themselves (Shows the horripilation) 47 SIT.-- Maid, just bring a mirror. 48 Maid-As the princess bids (Exit and re enter) Princess, here is the mirror 49 Stra—{Looking at the maid's faces Lee aside the mirror You seem to be desirous of saying something 30 MAID-Princess, tbus I heard The Revered Chamber lain Balaki says--'Consecration, consecration', 31 Sira-Some one will be (enchroned) king in his realm $2 (Enter another mardi 31 MAID-Princess, good news, good news 34 SITÄ-Wir what thing in your mind, do you speak? 55 MAID-They say that the prince (Rama) 13 going to be con«ecrated (as king) 36 SITA-Is father (in law) well? 37 MAID.By the great king himself, (the prince) s going to be consecrated 5 SITI If so, a sccond pleasant (news) bas been heard Widen your lap well 59 Vaid-Yes, priaceh (Dors so sira haming remored her Ornaments, presents them to her} 60 VAID Princess, the drum sound, as it were ! 61 SITĂ-The very time! 61 VAID—The drum gound, after being produced (111 strucki, has ceased all at once! *) SITA-What possibly could be the obitacle in the wil of the installation? O., royal houses are generally full of various eveals ·93 ENOLISH TRANSLATION 64 Maid Princess, thus I heard 'The great king, having installed the prince (on the brone), will go to the forest 6% SIT_If 30, il is not consecration water, but is indeed the water to wash the face 66 (Then enter Rame) 67 RAMA-Alas! oh! 68 When the drum bad begun (to sound), elders bad llood around, the auspicious scal (throne) was ascended (by me), and the pot was with water about to pour out as its mouth was being beat after it was raised up to the shoulder, ihen, as I was called out and dismissed by the king, people were astonished at my steadiness But, oh! what astonishment 1: there if a son carries out the words of bis own father? 69 As I was dismissed by the king himself who said Now my son you may take rest', my mind breathed out as it were, a sigh of relief, the burdca (of kingship) being removed Fortunately, I am the same Rama, and the great king the same great king! Now, I will just see Mauhılı 70 AVADĀTIKA ---Princess, the prince is coming, forsooth The bırcb-dress is not (yet) removed' " RAMA-Maithili, how is it you are remaining seated ? 72 SITÄ-Hum! It is my husband ! (Rising up from her srat) Hail! my lord 7) RĀMA - Maithili, please sit down (Suis) 74 SITA-As my lord bids (Sits) 75 AVADITIKA-(Atsde) Princess, the dress of the prince is the same (as usual) It seems, the (news) must be false 76 SITI --Such a person would not speat falschood Or, royal houses are generally full of various events 77 RÅMA-Maithili, what is it being talked about? 18 SIFA_Nothing at all This girl says —"Installatioa, installation" 79 RINA-I understand your curiosity There was 'lostallation' Listen To day, a che presence of the priests, ·94 TH2 PRATIBA-NĀTALA lord say ? ? [6] ministers and citizens, by the great king seating me op bis lap with which I was familiar in my childhood affectionately addressing mc by my mother's family name and in a way bringing together tac (whole of the Kosala kingdom I wal told-'My soo, Rama please accept the kingdom 80 SITA–To that, what did my $! Rama-Mauhih what is your guess 82 Strā—I guess that my lord, not saying anything, (but simply) hcaving a long sigh fell at the feet of the great king 83 RĀMA_Well guessed! Couples of the same disposition are rarely created Then in fact, I fell at the king's) feet 84 By the tcars falling down simultancously. - bis from above (on my head) and mine below (on his fect), the two fect of my father wete drenched, and my head was rendered wet 85 SITĀ- Then then? 86 RAMA-Then, when his solicitations were not accepted by me, I was conjured by his life already affected by the infirmities of oldage 87 SITĂ-Then, then? $8 RAMA-Then at that moment, 89 When the jar containing consecration water was held up by Satrughna and Laksmana, and when the royal umbrella was taken up by the king himself shedding cars (of joy), some thing was gently whispered in the car of thc king by the flurried Manthara, and I am not the king [7] 90 SITA-I like that The great king is the great king, and my lord 13 just my lord 91 RAMA-Maithil, why are you with your ornaments taken off? 92 SIT-I am not wearing them as yet 93 RAMA_That cannot be The ornaments roust bare been removed just recently For,- 94 Both of your cars are with their lobes curved op ·95 EXGLISH TRAXSLATION account of the ornaments being removed in haste; your two hands are wiib palms turned reddish white by the removal of ornaments; and these several parts io your body compressed by the weighe of the ornaments, are not yet gaining evenness, [8] 99 SITA-My lord is capable of presenting even an uptrue thing as true. * RĀMA_Then just adorn yourself. I will hold the mirror. Doing so, observing) Stay ;- 97 in the mirror (I see) a bark-dresa as it were. Are these the rays of the sun ? By your smile it is known; this is (merc) fun, or a desire to observe some vow. [9] 98 Avadātskā, what is this? 99 AVADATIKĀ—Prince, these (garments) were put on to see whether they suit her or not, 100 RAKA-Maithil, what is this? The dress of oldagc among the Ikşvākus is worn by you (now)! I 100 like that. Bring me one 101 SITA-No, no. Lei not my lord utter inauspicious words, 102 RĀMA-Maithili, why do you prevent (me)? 103 Sirā-It appears to me inauspicious in the case of my lord whose installation has just been stopped, 104 Rawa-Do not yourself conceive an evil thought, especially in a matter of joke, when by you, half my body, those (garments) have already been put on. (10] 105 (Behind the curtain) Alas! alas! the great kiog! 106 SITĀ-My lord, what is this? 107 RĀMA-(Listening) As there is a limit-less clamour of both men and women, it is quite evident that Fate bas hit at the very root, thinking that she is all-powerful. 10% Soon, please ascertain (what) the clamour (is about). 109 (Entering; CHAMBERLAIN—May the prince prolech, may the prince protect ! 110 RĀMA-Şir, who is to be protected?

·96 THE PRATILI NATAKA 111 CHAMBERLAIN—The great king' 112 RAMA-The great king 1--you say? Sır, won't your statement mean that the earth, compressed into a siogle per son, 1s to be protected ? Now, whence has the danger arisen? 113 CHAWBERLAIN- From a relative 114 RANA-From a relauvel Alas, then there is no senedy 115 The foc hits at the body, but a relative hits at the heart Whose relation sbip us at that is making me fee ashamed of? [12 116 CHAMBERLAIN-Her Highness Kaikeyi's 157 Rama-or my mother. Then, Indeed, there must b a good end of this 118 CHAMBERLAIN— How? 119 RĀMA-Listen, 120 For whas object could there be a longing in he whose husband is the peer of Indra and who has a son !! mc so that she would do an unworthy act? 13 121 CHAMBERLAIN --- Prince, enough of attributing you own straight forwardness to women's vitiated minds It wa in fact on her words that your installation was stopped :17 RĀVA Sir, many advantages there are in this, to be sure 123 CHAMBERLAIN Pray, how? 124 RAMA-Listen, 123 The king's retiring to forest has been put aside, o boyhood and subservience to my father resoain the same (: before), in the case of the subjects, there is no raisgivin about a new king's adounistration, and further, m brothers are not deprived of (sharing) my enjoyments 15 CHAYDERLAIN-Morever, the, having comc uncalled for, 191d-'Let Bharala be ins ested with the kingship'. Is There no avarict even in this? 17 RAMA-Sır, you do not see the real thing simply opt of partiality for me For, 1** If the kingdom promised as the bride's gift be ·ENGLISH TRANSLATION 97 130 demanded for her son, thalls her avarice, but none in my case who was taking away the kingdom of my brother' (15) 329 CHAMBERLAIN-But RAMAI do not wish to hear any further abuse rela. Ring to my mother Pleate relate the news of the great king 15 CHAMBERLAN–Then, at that time, 132 Without a word on account of grief, acrely by (a ign of the hand I was sent by the king I think something vas rotended; but the king fell into a swoon [16] 133 Rasa How ? Fell into a swoon' (Behind the curtain) 'Fell into a swoon l' do you say? you do pot b-ar the king's swooning, take up the 134 135 11 bow, no mercy 136 3 AMA - ( Listening, looking in front) By whom 15 Laksmana, the ocean of foristude and incapable of being agitared, (now) excited? When he is provoked, I behold before me a hundred (Laksmanas) crowded together (17) 137 (Then enter Laksmana with a bow and arrow in hand) 118 LAKSMAVA-Angrily) 'Fell into a swoon!' do you say? 139 If you do not bear the king's swooning, take up the bow, no mercy Every one who reposcs trust in his relatives and u zrnder-hearted, us thus unsylted But of thu is not agreeable (to you), you just leave me (so mysell) I am determined to render the world bercft of young women, as we are deceived by that quarter (18) 140 SITA--My lord, al a tirae wher we ought to weep, Saumitri has taken up the bow His apguish was, inderit, never seen before 141 RAMA-Sumura's son! What is this? 142 LAKSHANA-How, how? You ask me-'What is thiſ? 143 Even now, when the kingdom that came to you in the order of succession has been snatched away, and when the king is lying on the earth in a lamentable colitan, why 1 this dilemma? Is this forbearance, or sterre er ·98 THE PRATIVA NATAKA [19] incite! (Sets out} resolution? 144 RĂMA-Sumitra's gon' My losing the kingdom you into action Ah' you are really indisciiminate 145 Whether Bharata becomes king or I, it is indeed the same (for you) you have any pride of (your) bow let the king be protected [20] 146 LAKSMANA-I am unable to bear my anger Well well Let me go away 147 RÂMA-Like the fixed destiny, th19 frown of Laksmana fixed on the folds of his forehead appears as if desirous of consuming the three worlds [21] 148 Sumitra s son' just come here 149 LAKSMANA--Sır, here I am 150 RAMA— Trying to produce calmness in you, I spoke thus Now, please tell (mo) - 131 Shall I bend my bow against my father who 15 paying regard to truth? Shall I discharge my arrow on my mother who is taking her own property? Or, shall I kill Bharata who is outside all guilt? Which of these three ains commends itself, to become angry? [22] 152 LAKSMANA (With tears) Alas! You chide me without understanding me 153 I have no liking for the kingdom which involves great hardships But you have to reside in thc forest for fourteen years' [23] 154 RAMA- On this account His Highness has swooned? Alas! Absence of mastery bas been shown out Maithili, 155 For this auspicious purpo e, just get me the birch garments given to you by this maid I shall perform a religious duty which was neither obtained, nor demonstrated by other kiags [24] 196 SITA-My lord may take (them) 157 RAMA- Maithili, what 13 your decision? 138 SITÁ Am I not your partner in all duties ?

·100 TEL PRATIMA NATAL 177 Do you wish to render, all alonc, acrvice to the fe of my elder brother? Then (his) right foot shall be for you own self and ibc left one for me [2 178 SICA-My lord, please show pity The son of Sumit 18 miserable 179 RAMA-Son of Sumitra, listen the bark dress is indec 180 An armour for the battle of penance, a goad the clephant of religious vows, a bridle for the horses of senses, and a charioteer leading to religious duty, take this 181 LAKSMANA-I am beholden to you Takes and wea 182 RIMA--The main road 1 flocked by the citizens w have heard of the news Just ward them, ward them please 183 Lax-MANA-Sır, I will go in front Move awa move away, please 184 Rana - Maithili, just take off (your) veil 15 SITA -As my lord bids (Remov 186 RAMA- citizens' Please listen, listen all of you 187 All of you with your faces where in the cyes ! filled with cars, may behold freely this wife of mine F women can be looked at without offence, in a sacrifi during marriage in distress and in the forest 188 | Entering) CHAMBERLAIN --Prince, no, you should r gor at all For, hcre, the great king, 189 Having heard of your going to the forest accomp nied by your wife and followed by Laksmana who ! arrived at a resolution by his fraternal affection (the kini like a worn out forest elephant, rising up with his lire sullied by the dust of the ground, 19 coming buher LS 190 LAKSANA-Sit, 191 What is it that is worth seeing in (us) foresti who wear just an upper garment of bark? 19" RĀVA-Vhen we bave departed, let the king seco principal dwelling places (31) (Ezcunt om7 END OF THE FIRST ACT [S ·50160 ENGLISH TRANSLATION 101 LIE ACT II (Then enter the Chamberlain) CHAXBERLAIV—Ye persons keeping guard at the door! Please be watchful at your respec!ive posis ?Entering) PORTRESS-Sir What for is this? * CHAMBERLAIN-The great king here, being unable to dissuade Rama from garag to the forest as he was bent on (his father's) adhering to his truthful words, and having his icart scorched by the fire of the grief of separation from hus lons, is lying in the Ocean House saving much like a frenzied Person * Like Meru shaking, like the immeasurable great ocean jelung dry, and like the sun falling down with just hus orb psible at the approach of the end of an Age (Yuga), tbc ord of men is very much enfeebled in body and mind owing O sorrow * PORTRESS-Alas, alas' in such a plight is the great king' 6 CHAMBERI AIN- Lady, you go 7 PORTRESS - Yes, sir (Exit) & CHAMBERLAIN-Looking all round) Alas! Indeed, since the day of Rama's departure, this Ayodhya appears quite void For- 9 The lordly clephants are devoid of (all) desise for fodder, the horses are with eyes full of tears and mouths Without nughing, these citizen.folk including men, women and children, having given up all talk of food and with faces extremely miserable and crying aloud arc looking at the very direction by which Rama went away with his wife and brother (2) 101 100 shall just taain near the great king (Afooing about and looking) Ey! here 13 be grcal king altcoded upon by the chief queen and Sumitra, both comforung only him, suppreising cyen their own unbcarablc sorrow asisco as their ·102 THE PRATIVA NATAKA [3] 13 son's separation The situation is really hard ! And bere here the great king 11 Falls down rising up again and again, frequently crying aloud-"Ha! ha!" He gazes at the same direction by which the chief of the Raghus departed 12 MIS'RA VISKAMBHAKA (Then enter the king and the two queens as described) 14 KING-Hat my dear child Rama! the delight of the cycs of the worlds' Ha' my dear child Laksmana with limbs endowed with anspicious marks! Ha! vituo! Maithili, with thoughts fixed on your husband | Alas' alas my children have alrcady gone to the forest! 15 This is strange, sir, ,that I wih to see Laksmana although he is with affection ceased for the father on account of his love for ihe brother My danghter in law Vaidehi! 16 Abandoned cven by Rama and censured by Laksmana, I, a receptacle of infamy in this world, am discarded by you too! [5] 17 My son Rama' Child Laksmana! Daughter in law Vaidehi I Give me a reply, O dear children! Ah! this 19 vacant' None gives me a reply Son of Kausalya, where are you? 18 O truthſul boy' with anger overcome, free from jealousy, dear to the world and engaged in the service of cidars' give me a reply! 19 Ha' where is that Rama, the delight of the eyes and heart of all men? Where is he, most attached to me? Where is that compassion (incarnate) towards the distressed? Where is he who despised the wealth of kingibip as a piece of straw? My son Rama, deserting me, your aged father, what have you to do with the inconsistent Dharma? Ah, fie' how painful ? Oh! 20 Ráma has gone away like the sun, Laksmana bas ·103 ENGLISH TRANSLATION 21 followed (hım) just like the day following the sun, And Sita is not seen like a shadow (disappearing) at the disappearance of the sun and the day [7] (Looking up) Oh vile Fate 1 22 Why did you not decree these three-me, childless, Rama, the son of some oiber king, and Kaikeyi, a tigress in the forest ? [8] 25 KAUSALYĀ—-Weeping) Now let not the great king lose control over himself by larenting much Surely sbe and the two princes shall be seen by the great king at the end of the supulated period 24 KING_Who are you, please? 25 KAUSALYA -I am indeed the one who gave birth to an unloving son 26 Kivo -- What? Are you Kausalya, the mother of Rama who is the delight of the heart and cyes of all people ? 27 KAUSALYA -_Great king' I am indeed the same unfortunate woman 28 KING --O Kausalya, you are really substantial It was surely by you that Rama was borne in the womb 29 My grief is indeed excessive, unbearable and fire like, to bear or suppress which I am quite upable, being deprived of the powers of my senses [9] 30 (Looking at Sumitra) Who is this other lady? 31 KAUSALYA-Great king, dear Laksmana (interruptırg) 32 KING -(Rising ip suddenly) Where, where is he, Laks. mapa He is not seen! Oh, misery 33 (The two queens rising up hurriedly supbort the king) 34 KAUSALYA-Great king, I had begun to say - Dcar Laksmaga s mother Sumitra 35 KING - O Sumitra I 36 Your son alone is a worthy son by whom Rama, the scion of the Raghu race, is being followed day and night in the woods, as by a shadow [10] ·104 THE PRATIMA-NATAKA (Entenng) ÇHABIBERLAIN - Hait, great king! Hest indeed has come the honourable Sumantra 38 King-(Rising up suddenly, with joy) With Rama ? 39 CHAVBERLAIN-Not so, with the chariot 40 KING - How, how, with just the chariot' (Falls unconscious) 11 THE TWO QUEENS Great king ! take heart, take hcart (They pass their hands on his limbs) CiTAMBERLAIN - O misery! When cven great persons of his type meet with such calamilcs, destiny can not stall be overcome Great king, sake heart, take heart, “) KING --- Slightly recovering) O Balakı, Sumantra has come alone, 13 1t? 4 CHAMBERLAIN-Yes, great kung 45 Kino-Ah, misery! 46 If the chartor has come cmply, my desires are all squashed It is then really the chariot sent by Death 10 take away Dasaratha 47 Then quickly usher him in 4 CHAMBERLAIN – As the great king bids 19 KINO -Blessed, indeed, are the breezes that blow about the tanks in the forest, as itey at pleasure gain contact of Rima moving about in the woods 112) $0 pFntering) SUMANTRA-- Looking all round, with SOTTOLL) These servanti, - with their eyes bedimmed by tears springing on account of their affection for Råma, leaving their duties, being miserable wit thought and having their bodies scorched by sorrow, are ceaturing acverely the king who 11 lamenung aloud (13) 31 (Goung riar) Hail, great king! 31 The King Brother Stimantra, where is Rima, my cldest ? No, no, it was not cxprend properly by me 1) Where is Rima, your eldest son lover of soci! Where u thal daughter of the lord of the Videhus, with her .

·105 ENCI ISH TRANSLATION ACT II [14] vords thus unsurpassed devotion to elders? Where again is the son of Sumura? Have they sent any message with you to their wretched faiber who is on the point of death and who has brought about the grief of all people? S4 SUMANTRA Great king, please do not speak inauspicious You will see them before long 5$ Kiyo-Truly the words uttered by me are improper This is not a guestion befituing sages Hence tell me Is the Senance of the sages going on well? Are the forests under :heir control? Does not Vaidehi feel fatigued wbile walking about 56 SUMITRĀ-Sumantra, does not she (Sita),-the partner of her husband in all acts of dharma, who has her body clad variously by bark garments, and who, although a girl, 13 of a conduct of a grown up lady,-docs she pot say anything to us or the great king? 37 SUMANTRA-To the great king, all of them 58 KINO --No, no Relate to me (their message) by (pronouncing) their very names which are elixirs to my cars and doses of medicine to the suffering of my heart 59 SUMANTRA-As ibc great king bids The Long lived Rāma! 60 KING_'Rama'--you say Here 13 Rama By hearing his name, he appears to have been touched, as it were, (by me) Then, next? 61 SUMANTRA-The long lived Laksmana 62 KINQ-Here is Laksmana, then? 63 SUMANTRA-The long lived Sila, kiog Janaka's daughter 64 KING_Here is Vaidehi Rama, Laksmana, Vaidchi,- this is a wrong order ! 65 SUMANTRA- Then what is the proper order? 66 KING_-Say—Rama, Vaidehi, Laksmana 67 Even here, let Maithili stay between Rama and Laksmana The forests are full of various perils, she will (thus) be with protectors [15] 3 ·106 THE PRATINA NATAT 68 SUWANIRA As the great king bids The long lived Ram 69 KING-Here is Rama 70SUMANTRA- The long lived daughter of an Taoaka 71 KINC-Here is Vaidehi 72 SUMANTRA-The long lived Lak 73 KING-Hercus Laksmana Rama V My dear children, embrace me 74 IT I should touch Rarna once, more I feel that I will live like one by his lives is made to live by nectar 75 SUMANTRA- At Singiberapura from the chariot, standing facing down their heads to the great king 76 Having pondered over they, with lips set to quiver in or the forest saying nothing at all, as by cars 11 hing--How, 'went away to of (P 78 SUMANTRA-{In haste) O Ba that the great king us in an arremed 79 CHAMBERLAIN-Yes 88 Tue Two Queey-Great " hinc-(Recovering a little Touch my body, o bausaly my eyes My mind gone after R *Myron Rama! That which I 8? Having installed you on the subjects by their gaining ! ordered you to keep your brotl you I must depart from here to entirely altered in a moment, alas! 14 Sumapira, please tell 15 "Rama has gone, may, ·107 ENGLISH TRANSLATION --ACT It! 86 88 abandoned by my life Let (your) son be brought soon, and (vour) sin bear (its) fruit " (20) SUMANTRA-As the great king bids 87 KING-(Looking upwards) Ey! The manehave come to comfort me whose heart 13 srarched by listening to Rama's plight Who is there? (Entering) CHAMBERLAIN-Hail, grcat king' 89 KING-Water, please 90 CHAMBERLAIN-As the great kiog bids' (Exit, re enter) Hail grcaking' Here is water 91 King-(Performing the Acamana and looking) This is Dilipa, the friend of the lord of gods, this is Raghu, this is His Highness Aja, my father! What is the reason for your coming to me? Is it time for sac too, to dwell with you there? [21] 92 Rama, Vaideht Laksmana' I go from here, to ibe side ol my fathers O ſore fathers' here, here I come! (He is oder powered by a swoon) 93 (The Chamberlain spreads over him a cloth) 94 ALL--Ha, ha, great king' (Exeunt omnes) END OF THE SECOND ACT ACT III (Then enter the Sudhakara) 1 SUDNĀKARA---(Having finished sweeping etc ) Well, now the work ordered by the noble Sambhavaka has been done I will just sleep a while (Sleebs) (Entering) BHATA-(Going near the servant, beating him) Ah, you whore's son' Why don't you attend to your duty now? (Beals hom) 2 ·106 THE PRATINA NATAL 68 SUMANTRA As the great king bids The long lived Ramz 69 KING_Here 13 Rama 90SUUANTRA— The long lived daughter of King Janaka 71 King-Here is Vaidehi 92 SUMANTRA- The long lived Laksmana 73 King-Here is Laksmana Rama, Vaidebi, Laksmai: My dear children, embrace me 74 If I should touch Rama once, or see him just on more, I feel that I will live like one who, though abandon by hrs lives, is made to live by nectar [! 15 SUMANTRA---Ac Srogib-rapura, all of them, ahghis: from the chariot, standing facing Avodhya, and bowi. down their heads to the great king began to say 76 Having pondered over something for a long tin they, with lips set to quiver in order to speak, went away the forest saying nothing at all, as their throats were chok by lears [ 77 KING-How, 'went away to the forest saying nothing (Becomes doubly unconscious) 78 SUMANTRA-(In haste) O Balakı, report to the ministi that the great king as in an irremediable state 19 CHAMBERLAIN-Yes (Ex 80 lut Two QUEENs-Gstat king, take hcart, tale brai $1 hing-(Recovering a little) Touch my body, O Kausalya! I do not see vou w! my eyes My mind, gonc after Rama does not return as ser 33 My son, Ramal That which I always had in my mind(ttz 82 Having installed you on the throne having grauti the subjects by their gaining a virtuous king and having al ordered you to keep your brothers on an equal status wi you, I must depart from here to the forest, all that has be entirely alicred in a moment, alas! by that haikey! E' 84 Sumantra, please tell Kaikeyi -- 35 " Rama has gone, may you be pleased, I am al ·PYGLISH TRANSLATIO-ACT iti 10g " BHARATA–What do the physicians say about it? " CHARIOTEER-Tbc physicians aic quise incompetent for that 20 BHARATA-Does he take food, or sleep 21 CILARIOTEER-(He lies) on the bare earth, without food. BUARATA - Is their any bope" 23 CHARIOTEER-Destiny' 24 BHARATA- Afy heart palpiraies, drive the chariot (1) 25 CHARIOTEER-As the long lived one bids (Draces the chariot} 26 BHARATA~Noticing the speed of the chanol) Ah, the speed of the chariou. Here, these 24 Teccy appear 10 run, the distances between them hortened by the swift motion of the chariot, the ground falls into the cavity of the rim, as if 11 (ground) were a river witb ils water streaming upwardt, the visibility of the spokes as lost, owing 19 the speed the ſeliv of the wheels is still, as it were, and the dust raised by the horses falls in front and docs not follow (2) ** CHARITEER-Long lased ur, Ayodhya must be nearby on account of the moistened appearance of the trees 79 BHARATA-Ah the impallenge of my mind eager to bchold my own relatives : For, now- 30-31 My head bas, as i wers, reied on the fece of my father, and I am as of raised by the king moved with affection My brothers appear to have come to be 19 baste and the mothers drench me with their lears (of joy); 1 am praused as 11 were by the servaols, through fattery, with ruch expressions as~"He is like (bus father), he has grown atout and tall", and I also imagine berag joked at by Saumit there for my dress and language ( 34) 32 CHARIOTEER-(To himselli O piry' that chis prioce, ignorant of the demise of the great blog, going to enter Ayodhya entertaining a hope wbich is to become faule so the end' Alịhough we know, he cannot be told of it by us For,- 33 Who will utter these three disasters, viz ,-his father's ·108 THE PRATIQA VA TAKA do? SUDHAKARA-(Waking up) Beat me, beat me * BHATA- Beaten, what will you S SUDRAKARA--Unfortunate me! I have not gol a thousand armas like Kartavirya Bhara What have you to accomplish with a thousand arnasa 7 SUDHĀKARA-I will kill you * BAATA~Come on, you whore s son' I will leave you only when you are) dead (Beats again) 9 SUDHAKARA-(Haulng wepe aloud) Now, master, 1$ 14 possible to know my fault? 10 BUATA-No fault, no fault on your part, suiely Were you not cold by me that all the ladies of the harem headed by Kausalya are due to come here to day to see the Statut House of king Dasaratha who departed to heaven by the gorrow caused by priace Rama's gorng away from the king dom? Now, what have you done with regard to this? 11 SUDHĀKARA—My master may sce The sanctuary has been cleared of the nests of pigeons, in the first place The walls have the five-finger-marks of sandal pastc impressed on their chunam coating The doorways are decorated with suspended flower garlands Sands have been sirewn. Now, what 19 it that has not been done by me here? 12 BHATA-II so, go with confidence I too shall just report to the minister that cierything has been done (Exeunt ambo) 13 END OF THE PRAVES'AKA 14 (Then enter Bharata in a chariot and the charioteer) 15 BHARATA-(With uneasiness) Charioteer' owing to my long stay with my maternal uncl-, I am ignorant of all news (ol Ayodhya) I heard that the great king was scriously unwell in body Hence, tell me-- 16 What is the ailment of my father? 17 CHARIOTEER-A great mental anguish, surely.

·111 ENGLISH TRANSLATION - ACT III 41 know it on going delineation of the inward feelings of these forms! An impression arises that these statues are men like although they are intended to be of deities Can this really be a group of ſour gods? Or why, let them be whatever they are Thcrc 15 anyhow an excessive joy in my mind! +6 Verily, it is proper to bow the head thinking that they are only deities, but the salutation with which a deity 13 Worshipped without mantras will only be in the manner of a Sudra [6] (Entering) TEMPLE KEEPER - 0 While I was engaged in taking food, having finished my daily routine duties, who Indeed can this person be of a form almost rcsembling the statues, that has entered the Statue house 1 Well, I will inside (Enters) 48 BHARATA --My obeisance to you 49 TEMPLE KEEPER - No, no obeisance should be made 50 BHARATA --Plcasc say not so, sir 31 Is there any censurable fault in me? Or, is any distinguished person bring awaited ? What is this probibition duc to ? Or, is it your authority to enforce rules ? 52 TEMPLE KEEPERFor none of these reasons do I forb d you! But I only prevent the Brahman folk's galuting, misatking (chưse) for gods, for these are Ksatriyas 53 BHARATA—Is it 30 ? These are Ksatriyas' Then who indeed arc thcsc honourable persons ? 34 Temple KEEPER They are 'Iksvakus 55 BraraTA--(Joyfully) 'Iksvakus'-you say? These are then the famous rulers of Ayodhya 1 36 These are they who used to march in the company of gods at the time of the destruction of demon's cities, these are they, who, by virtue of their good deeds, used to go with their citizens and country men to Indra's region, these are they who obtained the enure earth conquered by the might of their arms, these arc those (kings) who were ·110 THE PRATIWA NATAKA (Exit) abandoning his life, his mother's greed for wealth, and his elder brother's etile? (5) 34 (Entering) BHATA--Hail prince' 35 BHARATA Good man, has Satrughnà come to meer me? 36 BMATA-The princc must be coming The presti however send word to you 37 BHARATA- What is it, what is it? 38 BHATA-The period of the Katika star has yet ole nadita remaining over Hence, the prince should cater Avodhya only after the Rohini star has sct 10 39 BHARATA_Well, I will do so Hither to I harc dever overstepped the words of the elders You may go 40 BHATA-As the prince bids 4 BHARATA--Now, in which place shall I take rese? Well, I see I will take rest for a while in this temple visible amidst the trees Thereby both worship to derties and rest will be gained Morcover, there is the traditional pracucc of the virtuous that cities should be entered after resting at the outskirts, (for a while) Therefore, let the chariot be stopped 12 CHARIOTEER-As the long-lived one bids Staps the chariot) • BHARATA – (Alighting from the charoit Charioteer, allow the horses to take rest in a secluded place 44 CIIARIOTEER-As the long lived one bids + BHARATA-(Going some distance and selling) Offerings are visible in the form of well arranged flowers and laja, the walls are with the five finger marks impressed on them with sandal parte, the doorways are decorated with suspended flower garlands, sands have been strewn I wonder whether there is a special ſesuval (here), or it is a daily obscrvance. Of what deity could this place be' No external sign, such as neapon or banner, is kon here Well, I shall know 16 after getung in (Entering and lookırg) Ah, the loveliness of the workmanship on these stones! How wonderful the ·ENGLISH TRANSLATION - ACT III 47 delineation of the inward feelings of these forms! An impression arises that these stalues are men like although they are intended to be of dcitics Can this really be a group of four gods ? Or why, let them be whatever they are There 13 aayhow ad cxcessive joy in my mind! 45 Verily, it is proper to bow the head thinking that they are only deities, but the salutation with wbich a deity is worshipped witbou, mantras will only be in the manner of a Sūdra [6] (Entering) TeuPLE-KEEPER - O' While I was engaged in taking food, having finished my daily routine duties, who 1odced can this person be of a form almost resembling the stalues, that has cntered ihe Statue house! Well, I will know it on going inside (Enters) 48 BHARATA -My obeisance to you 49 TeuPLE KEEPER - No, no obeisance should be made 50 BHARATAPlcasc say not so, sir 31 Is there any censurable fault in me? Or, is any distinguished person bring awaited ? What is this prohibution due to? Or, is it your authority to enforce rules? 52 TEMPLE KEEPER- For none of these reasons do I forb d you' But I only prevent the Brahman folk's saluung, mis alking (these) for gods, for these are Ksatriyas 53 BHARATA—Is it so ? These are hsatriyas ! Then who Indeed are these honourable persons 54 TeuPLE-KEEPER -They are 'Iksvakus 35 BHARATA-(Joyfully) 'Iksvakus'--you say ! These arc theo the famous rulers of Ayodhya 1 36 These are they who used to march in the company of gods at the time of the destrucuon of demon's cities, these are they, who, by virtue of their good deeds, used to go with their citizens and country-men to Indra's region, these are they who obtained the enure earth conquered by the might of their arms, these are those (kings) who were ?

·112 THE PRATINA NATAKA aghu who, while not ended for a long time by even Death who was seckung their pleasure 18) 57 Sır, indeed a g cat benefit has been got by chance! Tell me who His Highness here is? $8 TEMPIE KEEPER – This is radeed Dilipa who performed the Vråvaji sacrifice which needed the precious thoogs of all kinds to be gathered together, and who had kept ablaze the torch of righteousness 59 BHARATA - Let this salutation be to him who was wholly devoted to righteousness Please tell me who His Honour here, is 60 TEMPLE KEEPER — This is indeed, going to bed and while being roused from slorp in the (morning), heard the sound of the cepressions of 'good day urtered by many thousands of Brahman folk 61 BHARATA --Ah, the powerful Death has overstepped even such protection ' (My) salutation be to him, the fruits of whose kingship were fore shadowed (to him) by the Brahmın folk Please say who His Honour here is 62 TEMPLE KEEPER - This is Aja, who indeed renounced be tesponsibilities of kingship through grief caused by Ibe Joss of his dear wiſe and who e passion was quratened by the ablutions concluding hus daily sacrificial observances 63 BHARATA – My salutation to him of laudable contr. 1 Looking at the statue of Dasaratha and becoming perturbed ) Sır, it was not clearly comprehended by (my) mind fully occupied by the respect ( I fell for them) Please tell me who Ilus Honour here is 64 TOUPLE KEEPER –Thu is Dilipa 69 BHARATA- The great great grand-father of the king Next > 66 TexPLE SEEPPR--His Highness here is Raghu 67 BILARATA-The grand father of the great king N=16? 68 TIMPLE KEEPER -His Highness Aja non ·113 ENGLISH TRANSLATION-ACT III 69 ? BRARATA_The father of my papa! What 15 11? What did you say 70 TEMPLE KEEPER-This is Dilipa, this Raghu, and this Aja 11 BYARATA-I ask you something Are the statues of the living (king) too erected? 72 TEMPLE KEzper-Not at all, only of the dead 13 BHARATA-Then, I take leave of you 74 TEMPLE KEEPER--Stay 75 Why don't you enquire about this statue of Das'a ratha by whom both his life and realm were given away as the bridal fee to his wife? 19] 76 BHARATA-- Ab father' (Falls unconscious Recodering) "O heart' be satréfied, hear of my father's death about which you had your own misgiving, and just take courage if this base term 'bridal fee' has any bearing on me and proves also true, this body will have to be purified (10) 78 Good sir' 79 TexPLE KEEPER-This address 'Good Sir' is significant of the Iksvaku race Aren't you Bharata, son of Kaikeyi? 39 BHARATA-Yes Yes, I am Bharata, Dasaratba's son, and not Kaikeyi's #1 TEUPLE KEEPER- Then, I tak- Icave of you 82 BHARATA-Sray, please tell me the rest 83 TEMPLE KEEPER - What (other) go? You may listen His Highness Dasaratha cxpired I do not koow the purpose of the departure to the forest of Rama accompanied by Sita and Laksmana 84 BHARATA - What, what? Has my noble brother also gone away to the forest? (Doubly fainis) *STEMPLE KEEPER_Prirce take heart, take heart 15 BHARATA-(Recocering) Like a man oppressed by thirst running after a river dried up of water, I have been running towards Ayodhya which has been deserted by my father and brother and reduced to the state of a forest [11] 14 ·114 THE PRATII NAȚALA 37 Good sir, listening to a detailed account will product comfort to my mind Hence please tell me everything leaving nothing 31 TeyPLE KEEPER -- Please listen It is reported that juse when prince Rama was being installed on the throne BT the honourablc king, your mother said 19 BHARATA-Stay 90 Remembering that cvil bridal fee she must have said-'Let my son bc the Ling', by her, encouraged at the confidence gained therefrom chen my noble brother must hanc been iold - Go, my boy, to the forest', having setc him clad in bark, tbe king roust have indeed met with an unworthy death, and alas' words of reproach, that are yet left over and are similar (to those flung on my mother), mill surely be flung on me [12] (Fainis) 91 (Behind the curlein) Move away, uits move away 92 TENPLZ-KEEPER -- (Looking ollenfitelj Oh! 93 The queens have come just in limba when ther son has fallen into a swoon for, the touch of the mother's hand is (as soothing) as the libation of water to the manes who have had no funeral rites performed to them (13) " (Thin enter the queens and Sumantra) " SUMANTRA-Tlis way this way, ladies! *6 Thu is that Iouse of the Statue of our king, the height of which 11 rarely found (even) in mansions, 1 v visited cven without a salutation by travellers who are neither restrained nor announced by door keepers "Intenars and string) Lid es, no, no you should not enter 91 For, here is hing some are who is like the kirg when in hu youth' Tzwpu KEEPER Tou need not intake him for a stranger, meet him, for, he 11 Bharata (15) (Fail) 19 QLIKN--Alleshly going 1747) 0h child! Dhurata' Iti BHIANATA--Slightly 11 e Pring, Good »ir!

·115 ENGLISH TRANSLATION ACT III 102 SUMANTRA-Hail great (Having half ultered with SOTTOw) Oh the resemblance of the voice! I just thought that the great king in the statue was speaking' 103 BHARATA-Now, what is the tale of my mothers ? 104 Queens- Child this is our condmon' (They remove their dels) 10% SUMANTRA-Queens, please restrain your grief 146 BHARATA-Looking at Sumantra) The presence of all this cliquette indicates to me Aren't you Sumantra, sir? 107 SUMANTRA- Prince, just 30 I am Sumantra 108 Over powered by the cvils of long life and ridiculed by ingranude, I live (as) the charioteer of that empty chariot since the time that king dicd [16] 109 BHARATA -Ab father'(Rising) Father, I desire to be advised the mode of bowing down to the mothers 110 SUMANTRA-Welli This is qucers Kausalya, mother of the honourable Rama 111 BIIARATA-Mother, 1, an innocent person, bow to you 112 KAUSALYA-Child be without any anguish 113 BHARATA - (To himself, I am as if chided by this (Aloud) I am beholden to you Next? 114 SUMANTRA- This is queen Sumitra, mother of the honourable Laksmana 115 BHARATA –Mother, I, over reached by Laksmana, bow down to you 116 SUMITRA -My son become glorious! 117 BHARATA-Mother I shall strive for this beholden to you Nest? 118 SUMANTRA--This is your mother 119 BHARATA- (Rising in anger) Ah, you s oner 120 Standing between this mother (Kausalya) and this mother (Sumitra) of mine, you do not appear well, just like a polluted river let in between Ganga and Yamuna [17] 121 KAIKEYI-My son, what have I done? I am 1 ·116 THE PRATIMA-NATAKA 6 122 BHARATA-You ask, "What have I donc'? 123 Aren't these united with on another by you with infamy, my noble brother with bark garments, the line with dcaib at home, the whole of Ayodhya wub conunuou: weeping Laksmana with beasts (in the forest), the mother fond of their sons with sorrow, the daughter in law with th fanguc of (walking) long distances, and your own scll watt the severe word (of condemnation) 'oh fic!! [18 124 KAUSALYA-My son, how is < you do not salute you mother, while observing all traduronal formalities? 125 BITARATA _'Mother'-you say. On mother, you alon are my mother Mother, I bow down to you 126 KAUSALYA_No, no, this is your mother 127 BHARATA_She was formerly, but now, she is no Your ladyship may just see 1** Abandoning all affection, are not sons rendere not sons through the evil traits that have entered int (their) character? Now, I will establish in the world a pc (codc of) dharma that a mother be no mother for wrongin her husband [1E 1" Kaikeyi-My son, I said thus to see that the gree king's words were kept true 130 BHARATA-What did you say? 131 LAIKŁYI— Тhal my dear son may become the king 132 BELARATA-Who then us that brother of mine to you? 13) Is he not the legitimale son of my father? Is no a person lastalled on the throne usually in the orderc seniony > Would not the brothers be dear (to him)? Or, he nor to the likrog of the subjects? [2C 134 KAILLY-Nly son, you should indeed put this questio to the person who was covetous of tbe bridal ſce 115 BHARATA-He, deprived of royal wealih, was ordered b you to live in a forest with his wife, clad in bark and walkin on foot - Was this also mentioned in the bridal ſee? (2!

·ENGLISH TRANSLATIO-ACT IN 117 131 BHARATA-IT 139 136 KATKEY! I will explain this at the night place and time you were covetous of infamy, where was any need for mentioning my name? Iſ it was only thirst for the fruits of kingship, would not the king give them (to you)? Or rather, if this title “Mother of a king' was covered by you O lady, speak the truth, was not cay poble brother a son 10 you? [22] 1) A gncvous deed has been done by you ! By you longarg lor the kingdom, the king was not taken into account with rogard to his life, and you seot away his eldest son telling him." You go to the forest As your heart was not atid into pieces even on beholding fanaka's daughter clad in bark, lady, I wonder bow dament hard your heart must have been created by the Creator! [23] 140 SUMANTRA Prince these two, Vasistha and Vanadeva, After waking arrangercuts for your consecration, having come here alorg with the subjects to receive you, submit you- 141 Just as ibe cows without a cowherd go to ruin Being unprolected, so also the subjects baving no king surely nect wath ruin (21) 142 BHARATA-Let the subjects follow me 143 SUMANTRA Where will you go leaving the consccration ? 144 BHAKATA-' Consecration - You say? Let it be offered Her Ladyship here 145 SUMANTRA-Where will you go 146 BHARATA-To that place I will go, where that (Rama), fear to Laksmana, lives Ayodhyā which is without him 19 20 Ayodhya That is Ayodhya where Raghava is [25] (Ereunt omnes) END OF THE THIRD ACT ?

·118 THE PRATIYA-NĀTAKA ACT IV (Then enter two mards! * VIJAYA- Friend Nandinika, tell me, tell moc It is saic that prince Bharata was seen to day by all the ladies of the harem headed by Kausalya, when they had been to see the Slalue House 1, an unfortunate creature, remained at ib door 2 NANDINIKA-Friend, prince Bharata was seen by us wiel cagerness ? VIJAYA-How was the queen addressed by the prince * NANDINIKA-How addressed'? The prince did no wish cven to look at her VIJAYA---What a great calamity? By her, covelous « the kingdom and making Rama deprived of the realo widow hond was brought upon herself, even the peop! were led 10 ruin The queen is indeed crucl A sin has bee commified by her NANDINK --Feiend, listen Leaving aside the conte cration arranged by the subjects, the prince went away ! Rama's penance grove VIJAY-(Sorrou fully) Hum! Thus went the prince Nandinika, come on, we will see the queen Exeunt amb * END OF TITE INTERLUDE (Then enter in a char of Bharala, Sumantra and a chanoluer) 10 BHARATA-Now that the lord of men followed by his guod deeds has gone to heaven, 1, followed by the water of the tears shed by the citizens, shall go to see the second moon of the world, named Rama, in the holy penance graves (1) I! SUMANTRA-Here, this long-lived Bharata, 1? The son of that king who crushed the pride of the demon.lords, the grandeson of that king whose riches were 7 ·119 ENGLISH TRANSLATION -ACT IV utilized for performing sacrifices, and the brother of Rāma who did what was agreable to his father and who is dear to the whole world, -18 going by a path simlar to that of Rama 13 BHARATA -O, father! 14 SUMANTA—Prince, here I am 18 BHARATA_Where is the honourable Rama, my elder brother? Where is that representative of the great king' Where is that excellent specimen of persons endowed with the cssence of heroism Where is hc sho obscures Kaikeyi colelous of the kingdom? Where is that reccplacle of glory? Where is that son of the lord of moen? Where is he who observes the vow of truthfulness? 16 I wish to see him, my greatest god, by whom the wealth (of sovereignty) was given up in order to please my mother [3] 17 SUMANRTA—Prince, in this range of hermitages ,- 18 Here are Rama, Sita and Laksmaga of great glory, in whom Truthfulness, Character and Devotion (respec tively) are present in bodily form [4] 19 BHARATA-Then, please stop the chariot 20 ChariotŁER As the long lived (prince) bids (Does so) 21 BHARATA (Alighting from the chariot) Charioteer, allow the horses to rest in a secluded place 22 CHARIOTEER — As the lone lived (prince) bids 23 BHARATA_O father, picasc announce, pleasc announce 24 ŞUWANTRA- Prince, how shall it be announced? 25 BujaratA_Bharata, the son of Kaikeyi cavelous of the realm, has come 25 SUMANTRA-Prince enough of uttering insults about elders 27 BHARATA -Well, it is not right to utter the fault of another Therefore please say—'Bbarala, who forms the stain on the Iksvåku race, desires an interview 28 SUMANTRA-Prince, I am not able to say so But I would just say - Bharata has come' ·120 THE PRATIMA NITAKA sirs Please 29 BHARATA-No, no Mentioning just the name appears to mic as penitence not undergonc Hry? Is the announce ment of Brahman slayers made by some other person ? So, let my father stay I myself will announce report to the honourable Raghava who carried out abc words of his father, that- » One who is shameless, ungrateful, unrefined, 10coasde taic, but full of devotion, has come Should he wait or go? 31 (Then enter Rama with Sira and Lakşmama) 32 RANA-(Listening joyfully) Laksmana, do you hear? O princess of Videha, do you also hear? » Whose is this voice so closcly resembling that of my father, which on account of its depth, surpasses as it were the rumbling of clouds, and which, creating in my mind the suspicion that he must be a relative and being full er aficciton, has agtecably entered into the range 34 LAKSMAVA-Noble brother. This oice dors indeed duce in me also a bigh regard due to a relative For, this Deep, clear and sedate (voice), sweet with affection like that of a youthful bull, is melodius as the throat and with a free passage of his force at the breast, and on account of su different syllables being pronounced distinctly having gained contact with the proper organs, i endeavours 10 vouchraſe as it were protection to all the four ramas (7) 35 RINA_Surely this cannot be the oice of one who u not a relative It wets my heart, as it wete Deat Lakemona, picale sec 17 LAKSMAYA-As my noble brother bids (Vores oulj * BHARATA-Fy, how is it no one gives me a reply Can It be that I am recognised 24 Bharata, the 107 of Kazeyi, hasing arrived here! " LAKSHANA-(Leokies) Oh, this in my poble brother Roma To, no, it is the likeness of foren 40 The matchless face, charming I te the moon, 100ls of my ean? pro- ·121 NGLISH TRANSLARION-ACT IV 43 45 arc ike that of my noble brother, the large chest is resembling ay father's, scarred by the arrows of the gods' focs, urrounded by splendour, a lustrous glow, and of a easing appearance to the world, -18 this a king, or the sverlord of the gods, Madhusudana bımself? [8] 41 (String Sumantra ) Ah, father (Sumantra)' 42 SUMANTRA-O, prince Laksmana! BHARATA - Yes, he is my elder Brother, I bow to you LARSUAVA--Come, come near, be long-lived (Looking 24 Sumantra) Father, who is this honourable person? SUMANTRA- Prince ** Fourth (in descent) from Ragbu, ibırd from Aja and second from your well known father, this is priocc Bbarata, the younger brother of that scion of your family, whose younger brother also [9] 17 LAKSMANA Come, come near, 0 prince of the Iksvaku family 1 Hail to you. Be long lived' the receptacle of excellent virtues in this world just like that lord of men, Raghu, whose treasure was exhausted in performing sacrifices and whose valour was equal to that of the members of his own race who were cxperis in fighting with the demons, whosc bows were rubbed closely against the thunder bolt (of India ) and whose strength and valour were match less 49 BJARATA-I am grateful to you 50 LAPSMAVA- Prince, you stay here your arrival to my elder brother 31 BHARATA- Brother, now I wish to salute him without Plcare report to him soon 32 LAKSHANA-Well (Going near) Victory to my brother' you 48 Be you [10] I shall report delay Brother, 53 Here stands your dear brother Bharata, who is full of fraternal affection and in whom your own form has been reflected as in a mirror 15 ·122 THE PRATIVA NITACA [12] S* Rāma-Dear Laksmana, is it so ? Has Bharara come? *5 LAKSWANA Yes, noble brother $RANA Marthili, let your eyes be widened for beholding Bharata! 57 SITĀ_My lord, bas Bharata come! 58 RANA-Maithili, yes 59 To day, Indeed, I understand that a hard task was accomplished by my father If even brotherly affector be such, of what sort should the (parensal) affection be towards a son 60 LAKSHANA_Brother, shall the prioce get in? 6RAMA- Dear Laksmaqa, even in this, do you mean id carry out my own intention? Go, with all honour shown him please bring him in quickly 62 LAKSHASA -As my noble brother bids 61 RANA-Or you stay here *4 Let this (S1) go in person to do him honour enter caining the feeling of a mother tor ard, her child, sheddin tcars of joy as if it were a shower, and with cycs resembling the petals of the lotus full of dew drops [13 65 SITI --As my lord bids (Rising up, walking along chi stung Bharala) Hum. Within thus short time, my lord ha already con c out! No, no, it is the likeness of form! 66 SUMAYTRA-Ah! our daughter-sa law! 67 BATARATA -Ab! this is her ladyship, the daughter o king Janaka! 61 Thus that lusite in the form of a woman, whic! sprang up from within the field through a plough and whic! is a good evidence of the penance of Janaks, the lord of king ** Voble lady, I offer my obeisance to you Iam Bharats *9 SIII-(To herself. Not only ibe foto, e en the voice is the 1900 (Aloud, My boy, live loog! 1 BHARATA-I am beholden to you ** Stil-Come my boyl Full your brother's degre ·ENGLISH TRANSLATION - ACT IV 123 14 73 7 SUMANTRA-Pance, please enter BHARATA --Father, what will you do now? 15 SUMANTRA-I will enter afterwards Now that the king has departed to heaven, this is my first visit to Rama who has known the fact (15) 16 BHARATA-Be it so (Going near Rama) Noble brother, bow down to you I at Bharata RAMA--!ith joyi Come on, come near 0 Ik vāku princel Hail to you! Be lang-lived! * Widen your chest of the measure of the closed panels of a door, embrace m- with the pair of your stout (arco Hold up this face (or yours) resembling the avlumnal moon, (and) gladden this body (of mine) which is scorched by calamitics [16] 79 BHAKATA-I am beholden to you SUMANTRA-(Going Rear) Hail 10 the long lived ooc' RAMA-Alas, father! 82 Hc --who formerly at the time of advancog with his forces to beaven ja acrial cars equal to those of the gods, was well known in the close fight between the gods and demons being often pornled out as 'Thu x be, that is be! |--19 that illustnou king, his body left behind, takrag rest along with his royal fore fathers remaining 10 heaven now, even without you so affectionare and dear to him? [17] 31 SUMANTRA--Sorrowfully) Having borde varied and unbearable (sorrows) (such as) tbe king's death, your çkile, Bharata's misery and the helpless state of the family, toy (long) life has erred in what appears to be an advantage (18] ** SITA Faiher makes my weeping husband weep once agaio 85 RIWA- Maithili, here I compose myself Dear Laksmana, water, please 36 LAESWAYA-As my noble brother commands 81 (to it) ·124 THE PRATINA-NATAKA (19 87 BHARATA Brother, this is not at all right I will serve in the order (of our birth) l'll myself go (Taking a pola going out and te entering) Here is water ** RĀMA-(Having performed Ātamana) Maithili, Laks mana's work is indeed being impaired 89 SIR.-My lord, should you not be served by thu (Bharata) also 90 RAMA_That is no doubt righe Lee Laksmana serve wc here, romalaing there, Ict Bharala serve me 91 BHARATA-May my noble brother be pleased ! 92 I will stay here in body and there by my duty Thi kingdom will be safe by your mere name 9 Rawa My dear (Bharala), son of Kaikeyil no, not so 94 I bave come to the forest at the behest of my fathe and not out of vanity or ſcar or delusion More over ou family 11 one that regards truth as wealth you Would you follow the path of the low? 93 SUMANTRA-If so, where should the consecrauion wate lie now? 96 R.HA-Let it lie only there where my mother said it should 97 BHARATA-May my noble brother be pleased Goo brother, please do not strike at the wound now 9 0 Virtuous ones your mother is also my mother and thai eminently wise father of yours is also my fathei O good person I The fault of the mother is no lault of more Just see ob benefactor, this distressed Bharata in the props perspective (21, 99 SITA-My lord Bharala speaks most preously "hal 13 hat my lord thinks now? 100 RAKA - Maithili, 101 I think of that king gone to heaven, who having got auch a treasure al virtutes (as Bharata) in this world, did not sce thus cxcellent character of that son Ah fiel if Fate abould dominate oser (cren) great ben! [22] (Hence) I cel [20 ·125 ENGLISH TRANSLATION ACT IV 102 My dear Bharala, 109 It is a fact that I am pleased with you You are with an unstaiaed mind I am subject to your words, being won over by your reknown virtues. But it is not right on "our part to falsify those words of the king More over, bould your father (turn out to) be a lier, having begot a on of your type? [23] 104 BHARATA-Unul the term imposed on you comes to an Und so long, O king' I will remain here, at your feet Bos RĀua-Not so, let the king achieve bis goal through qis good deeds I conjure you with my life if you don't govern your rcalm [24] 106 BHARATA-Alas! you have silenced me Well, I shall preserve your kingdom on onc condition 107 RAMA-My dear brother, what is that condition ? 108 BHARATA-I desire that you take back at the end of fourteen years your kingdom placed as a deposit in my hands. 109 Rama-Be it (50) 110 Bharara-Noble brother (Laksmana), have you heard? Your ladyship, have you heard ? Father (Sumantra), have you heard? 111 ALL_We all have heard it 112 BHARATA-Good brother, I desire to spatch away from you another boon 11) RAMA--Dcar boy, what do you wish for? What sball give you? ? What can I do for you? 114 BHARATA--To be who has bowed down to you with my bead, give these two sandals used by your fect. Until you achieve the fulfilment of your mission, so long, I will remain obedient to them. [25] 115 RĀMA-(To himself ) Oh 116 After such a long time only very little fame was obtained by me (Bur), in no time, all that has been acquired by Bharala to day [26] ·126 TIIZ PRATIVA NITAK) (Recering) Noble 117 SITĀ- The first request of Bharata will surely be granted, is it not, my lord 1 11! RAMABe it 50 My dear brother, take these ( Offers the fuo sandals ) 119 BHARATA-I am beholden to you brother, I wish to have the consecration water poured on these. 120 RANA --Father, do whatever is desired by Bharata 121 SUMANTRA- As the tong-lived one bıdı. 112 BEIARATA 1To himself ) Ah' joy! 125 (I have now become) trustworthy to my kinsme. agrecable to the citizens, able to bear the sight of tbe people, and dear as a good natured son to the king living in heaven (I am now) highly esteemed by my virtuous brothect, & great receptacle of glory, the subject of talt for the good people in their conversations, and dear to those who have obtained their dear objects (27) 12+ RINA-My dear Bharala, a kingdom u ruch that should not be neglected even a moment Hence, O prince, please return now alone for success 12S SITA-Tum Prince Bharaia will go this very day! 126 RAKA- Enough of excessive londneu Let the prince go now alone for success 127 BHARATA-Yoble brother, I will go now alope 121 Full of hope, the citizens in the city will be waiting with the desire to see you (again), I shall gratify them by showing them your favour (28) 13* SUNAYTRA O long lived one! What should be done by me now 139 RAMA-Father, please look after the priaç, u if he *ere the great king SISUVANTIA-Sa tong - I live, I shall strive to do that). 11! RAVA-My dear Bburala, please siceod the charlot Inmy presence ·128 THE PRATIMA NATAKA (And) the . (yet). The drenched insects are coming up the surface of thc carth as their holes are filled with water trecs are with fresh circles round their roots, on account of the lines of water drying up [2] 6 (Beholding) Ey, here 18 Vaideh: ' Oh, alas! 7 This hand of hers, which was getting tired by just holding a mirror, does not now feel fatigued (even) as she 13 carrying a jar Alas! the forest hardens the creeper like tender ness of women [3] (Going naar) Maithili, How farcs your austerity? SITA--Oh, itu my ford! Haul to my lord! 10 RĀM-Mahili, if it means no hindrance to your duty, please be scated " SIIA-As my lord bids 1 (Suts down) 12 RAMA-Maithili, I see you as if cager to have a reply from me (to a question of yours) What is it? 13 SITĀThe facial expression of my lord is like that of one whose mind is vacant with gref Why is it so? 14 RAMA-Mauhilt, rightly indeed, you have evinced interest " As my body was hit against by death's spear, the wound caused on my mind is suill (as fresh) as before The strokes from the darts of sorrow which have different aim, fall on one and the same place over and over again 16 SITI - What is the nature of my lord s worry? 17 RAMA_The observance of the annual ceremony of my rtvered lather is to be to morrow The manes wuh for the oblations offered in the best form Hence, how shall I perform 11'-- This is what I am considering Or, 16 They will in fact get satisfied with anything, for, they surely know this condition of mine Still I wish to do the worship in a manner befitting Rama as well as his father 19 SITI-My lord Bharata performs the ceremony with all affluence, and you too with fruits and water in accordance with your condition This will be very highly priced by faiher ·ENGLISH TRANSLATION --ACT V 129 20 RĀMA-Maithili, 21 Sccing the fruits on the Kus'a grass arranged by my own hands, father will weep even there being reminded of (ory) forest life. [6] 22 / Then enter Ravana dressed as an ascetic ) 29 RĀVANA-Oh, here - 24 1, of a positively uncontrolled mind, putting on this disguise, am going desirous of carrying away that priocess of Janaka alter deceiving Rama who has courted my enmity by slaying Khara, as if she (Sitā) were the stream of an oblation (to fire) without the proper (utterance of) accents and syllables, [7] 25 (Moving forth and looking down-wards ) This is the entrance of Rīga's hermitage. Let me get down. (Gets down) I will just observe the formalities of a guese. Hello, who is herc? I am a guest. 26 RAMA-(Listening) Welcome to the guest. RĀVANA-Good, my disguise has really been matched 28 RĀMA--Sering) Ey, it is a holy person ! Revcted sir, I bow down to you 29 RAVANA.Hail 30 RIMA-Revered sit, bere is a scat; please sit down, 31 RAVANA-( To himself ) How is it I am ordered, as it were, by him? (Aloud) Well, (Sits down) 17 RAMAMaithili, bring for the holy person, water to wasb his feet with 3) SITĀ--As my lord bids. (Exii, re-enter) Here is water. 34 RAMA-Attend an Hus Holiness. 3 SITI -As my lord bids, 36 RIVAŅA -- (Bring agitated that his disguise may get exposed) Stay, stay, 37 On this carth, surely, the one Arundhati amongst mortal women is this (Sítā); and (it is) as her husband, 27 by my voice 16 ·ENGLISH TRANSLATION ACT V 131 super-human power) 52 RAMA-Holy 31s, only that is my decision 43 Both the things that shall secure it are present in If penance fails, there is the bow, if the bow fails, we there is penance 54 Ravana --They exist They five on the Himalayas ** RIMA-'On the Himalayas '-15 1? Then? 56 RĀVAVA_'On the seventh peak of the Himalayas live the deer called 'Golden Sides' flanicana parsva), that drink the water of the Ganges falling directly from the head of Siva, that have backs as blue as vaidurya and that are as flect as wind Great sages such as Vaikhanasa, Valakhilya and Naimis'a pe form Sraddhas with these (deer) that present themselves and die the moment they are thought of 57 Gratified with these (decr), the Danes oblain the fruit of (haviag begot) sons For, laying aside oldage, and ahining with resplendence, they ascend heaven, they also secure residence in storied mansions on a par with gods, and are not forcibly drawn away by the objects that turn upon the sclvcs [10] 58 RAMA--Maithill, 59 Take leave of these deer and trees fondled by you as your sons, and of the Vindhya forest and of your dear friends, (Hereafter) I will live in those Himalayan forests allumiped with the glowing berba) groves [11] 60 SITA.As my lord bids 61 RĀVANA O son of Kausalya, do not entertain a desire which is beyond reach They are not visible to human beings 62 RĀUA Vencrabic uir, do they live on the Himalayas ? 63 RAYAVA-Quite ao 64 RAMA-Then, you may set 6s Himayān (tbe mountain) will either show me those deer or attain the state of Krauñca, being plerced by the force of my arrow the creepers ·ENGLISH TRANSLATION ACT V 131 mc there is penance 55 super-buman power) 52 RAMA-Holy me, only that is my decision 13 Both the things that shall secure it are present in If penance fails, there is the bow, if the bow fails, (9) 54 RAVANA _They exist They live on the Himalayas, RAMA-'On the Himalayas '-5 it? Then? 56 RĀVANA_'On the seventh peak of the Hirpalayas live the deer called 'Golden Sides' (kancana parsva), that drink the water of the Ganges falling directiv from the head of Siva, that have backs as blue as vaidurya and that are as fleet as wind Great sages such as Vaikbanasa, Valakhilya and Narcisa pe form Sraddhas with these (deer) that present themselves and die the moment ibey are thought of 37 Gratified with these (deer), the manes oblasa tbc fruit of (baving begot) sons For, laying asıdc oldage, and shining with resplendence, they ascend heaven, they also secure residence in storied mansions on a par with gods, and are not forcibly drawn away by the objects that turn upon themselves [10] 58 RAMA--Maithili, 59 Take leave of these deer and trees fondled by you as your sons, and of the Vindhya forest and of your dear friends, the creepers (Hercaſter) I will live in those Himalayan forests illumined with che glowing herbal groves 60 SITA--As my lord bids 61 RĀVANA O son of Kausalya, do not tolertain a deure which is beyond reach They are not visible to human beings 67 RAMA Venerablc sir, do they live on the Himalayas" 63 RASAYA-Quite so 64 RINA_Then, you may set 65 Hicavân (the mountain) wall cither show me those deer or attajo the state of Krauīca, being pierced by the Torce of my arrow [12] ·132 THE PRATIUĀNĀTAKA 66 RĀVANA - ( To himself i Oh, hus vanity 1 indeed unbearable 1 67 RAMA--(Looking at the quarlers) Ey, something like a flash of lightning # seen 68 RAVANA (Aloud) Şon of Kausalya, even as you are here, Humavan honours you This is the Kancana pars va 69 RAMA- This success is due to your Reverence 70 SITA -I congratulate my lord on his success! 71 RAMA -No, no 72 This is the good fortune of father, if he (the deer) has come here by himself He deserves to be honoured Therefore, O Mauhili, inform Laksmana [13] 7) SITA—My lord, dont you remember that Lakşmaņa has been deputed with the instruction-'Go to meet the Kulapati who is coming this way during hus pilgrimage? 74 RAMA-Then, I myself will go 75 SITA. What shall I do? 76 RAMA-Wait on this venerable person 77 SfTĀ-As my lord commands (Exit Rama) 78 RAVANA Ey, here goes forth Raghava carrying Arghya (in his hands) And now, Rāma, seeing the deer running away regard-less of the honour, strings hus bow 79 How great his strength, how great hus valour, hu mettle and speed! It is but appropriate that this world is pervaded by the (twoj short syllables (Ra mal' 80 Here is the deer, with one leap having passed beyond the aim of his arrow, it has entered the dense forest 81 SITA.-- To herself } In de, separated from my lord, fcar is arising here 82 RAVANA --(To himself) As Rama bas been sent away by a ruse, I shall carry away the young weeping Sua, who 13 alone, from this penance grove, as if she were an oblation not prescribed in the Mantras (15) 81 SIFA-I will just go into the hermitage (Dossies to gº) ·ENOLISH TRANILARIO-ACT V 133 34 RĀVANA-(Assuming his own form) Sitā, itay; stay. ** SITÄ-/Vith fear) Hurp! Now, who is this? 86 RĀVANA-Don't you know him 87 By whom gods such as lodra together with hosts of danadas were defeated in battlr ? Sccing the deformalion of Sürpanakha, and having heard of my two brothers slaughtercd, I, thar Ravana, have come here, o lasg eyed lady, with a mind to abduct you, after Juring away with ruses that Rama of immeasurable strength, who, through pride, is foolish (16) * SIT. -Hum, Ravaga is the name? (Starts to go) 39 RAVANA-Ah, where will you go, having come within the range of Ravaga's cyes? 90 SITĀ- My lord, save me, save me? Saumitri, save me, Save toe! 91 RAVANA-Sıta, listen to my heroism 92 Indra was defeated, the lord of wealth was shaken, Soma (moon) was dragged out and Sūrya's son was crush-d (by me) Oh, fic on that heavca, which has beco tesorted 19 by the terrified gods! Blessed as the carth where Sita us! (17) 9) SITA_My lord, save me, save mel Saumitri, save me, save me! 94 RAVANA Seek the protection of Răma, or Laksmapa, or King Das'ara ha hırself who is in heaven What is the use of appeals addressed to weak coco? Young ones of the deer can not assall a tiger (18) 95 SITA_My lord, save me, save me! Saumuri, save me, save me? 96 RĀVANA-Why do you O large-eyed lady Count me as you do your husband This Rapa, although Biociated with a vast army together with the hosts of gods, 13 quite incompetent to fight with me (19) 9 SITA- (Angrily) You are cursed! *** RAVAYA-Ha, ha, hal Ab, the poner of a patirtala! bewail now, 1 ·134 THE PRATINA-NITAKA 99 1, who fllew up violently, was not scorched by the rays of the sun, but I am scorched now by ibese few syllables you are cursed' of this lady [20] 100 SIT.-My lord, save me, save me! Saumitri save me, save de 101 RAVANA ---Holding Sura) O ye asceuics residing in the Janasthana, listen , all of you listen 102 This top headed Rāvana goes abducting Sita by force Iſ Rama is laterested in the duties of a hero, he may display his heroism (21) 103 SITĀ—My lord save me, save me 104 RĀVANA-(Aforing forth seeing) Ey, here u Jajaju rushing towards me with his terrific beak, agitating the trees of the forest by the despatch of the wind through his wings Ab slay now 103 To the abode of death I will despatch you with your limbs drenched in pleory of blood oozing from the wounds caused by the chopping off of your wings with the word drawn by my arm [22] (Excuni ambo) END OF THE FIFTH ACT ACT VI ( Then enter two old Ilermils ) * BOTH —Help, help. ye! ? FIRST—Here, over-powered by (Rivaga) the lord of demons having the complexion of a blue lotus garland and ridiculously laughing with his teeth white and bright Itke a lotus-stalk, Siis is being carried away just as a doc us by the tiger (wandering about at midnight). [-] * SECOND_Here, indeed, is her ladyship Vaidehi- *Like a struggling female serpent and like a tossed up creeper laden with flowen, she is being forcibly and away ·an M ENGLISH TRANSLAT04-ACT YI 135 6 + 12 the wicked Ravaga, from tbe pedance grove, as she were the fruit of pedances [2] s Bora-Oh ye, help, help! FIRST-(Looting vfxords) Good! Simultancously with our appeal, Jatayu has flown up into the sky in order to pay back his debt (of grasitude) to Dasaratha, saying- Where will you go wbile I am alive ?? 7 Stcov Here has Ravana turned back with eyes upturned out of rage' * FIRST-Here is Ravana! Second-Here 13 Jatayo! 10 Bork-Oh' here, a fight has commcaced in the sky' 11 Frrrr. Kas'yapa, O Käsyapa, look at the magic of the lord of carnon-calers (vultures)' Attacking bim with his wings, he has cogaged him in a valorous duel Remaining steady, he tries a very close and sharp seizure of him with his beaks The fierce expanse of his chese ss being torn off with sharp porated claws resembling iron nails, just as the rock of a rugged mountain is cleft by the points of (lodra's) thunder bolt. [3] 13 Second -Ah, tbe vulture lord is hit on the region of bus right shoulder wub a sword by the enraged Ravana I+ BOTH-Ah, the worthy Jatayu bas fallen down' Alas 1 15 Fixst-Oh, piryt Here, indeed, the worthy Jatayu, 16 Having put forth hus utmost effort dis regarding hus enemy as if be were a pet-peacock, and haviog spurned the blazıog valour of the demon lord-he bas collapsed like a forest free puffed down by a lordly elephant [4] 17 Both-Vay he go to heaven! " Fixs-Kasyapa, please come on Let us report this matter to the honourable Raghava 19 Second_Well, a very good idea! (Exeunt ambo) END OF Tit Vis *18xxx ·136 THE PRATIMĀ NĀTAKA 21 23 ( Then enter a Chamberlain) 22 Chamberlain-Oh, who is here on duty at the Gold Arch-gate? (Entering) PORTRE:3—Sir, it is I Vijaya What shall I do for you? 24 CHAMBERLAIN O Vijaya, please inform prince Bharata soon that his honour (Sumantra) who had gone to the Janasthana for sceing Rama has returned 25 PORTRESS-Sır, has father Sumantra returned after accomplishing his mission ? 26 CHAMBERLAIN--Good lady, I do not know Just on secing Sumantra come back with his face dried up by the fire of sorrow in his heart, my miod became agitated to day (5) 38 PORTRESS-On hearing this, my mind us perturbed, as 27 it wcrc (Exu) 29 CHAMBERLAIN-Good lady, why are you simply stand og now? Please inform soon 30 PORTRESS_Good Sir, here I go to inform 31 CHIAMBERLAIN-(Seeing) Ey, here the honourable prince Bharata, clad in bark garments, with his head turned tawny by the mass of the variously matied hair and with his heart filled with curiosiy roused by the arrival of Sumantra, s coming this very way Here (con (s) he, who-- 37 Has a multitude of wellknown virtucs who is Death to hu encmics, who is an ornament to the Solar Race, who is almost an equal of the lord of the gods, who is steady in governing the nhole world in obedience to the order (of h11 brother) and who looks dignified with his gaul resembling that of a stately young elephant [61 1 Then enter Bhorela and the Porfress) » BHARATA — Vijay, hat the honourable Supapira returned then 35 Gone to ice my noble brother for the first time after ·ENGLISH TRANSLATIOYICT VI 137 In I returned obiaining then his favour and promise, bas the honourable Sumantra come back here hasing seen Rama, the delight to the eyes, thoughts and minds of the subjects? 36 CHAMBERLAIN-(Going near) Hail to the prince' 37 BHARATA – Now, in which place is the honourable Sumantra? 38 CHAMBERLAIN-Here at the Gold-Arcb gase 39 BHARATA - Then, please usber him in soop 4 CHAMBERLAIN-As the prince bids (Exu) 4' (Then enter Sumantra and the Portress) "' SUMANTRA-(With sorrow) Alas! oh, alas! 43 The King's death was witnessed by me The calamity of the prince was again seen by me Tow Maubil's dus appearance is also heard My (long) lifc bas essed 10 what appears to be an advantage (to it) “ PORTRES:-(Addressing Sumantra) Vay your honour gut Here is our master You may go bear *S SUMANTRA-Going ntar) Hail to the prince 46 BAARATA-Father, was be seen by you?-he, by whom his affection towards his parents was rcycaled before the world? Was Arundhau's conduct divided iwo fold (10 Sta) witnessed by you? And was that fraternal affcction (of Laksmana) that has causelessly under-taten a hſc is the forest, beheld by you? 47 (Sumanita remains thinking) 48 PORTRESS-The prince is indeed asking you, good sir! 49 SUWANTRA_lhar, mę, good lady 50 BRAKATA-(To himself) Very great sodeed is bis anguish! He is absent minded through mental pain (Aloud) Has your honour come back from an incomplete journcy? 31 SUHANTRA- Prince, having at your behest set out for Janastbåna to treet Rama, bow could I come back in the taiddle 5* BHARATA~Theo, rellay, did they not show themselves to you out of anger or shame> 17 7 ·ENGLIH TRANSLATION ACT VI 139 baving come to be separated from his wife, my elder brother is now like the cloud covered mood in the sky, deprived of all splendouri (12) 69 Oh, what shall I do now? Well, I see Please comc with me father 10 SUMANTRA- As the prince bids (Both more along) 7 SUMANTRA- Prince, no, we are not to go here This is the Queens' Quadrangle! 72 BHARATAMy business is just bere Hullo, who is on the watch, here? (Enkırıng) Portress-Hail to the prince! Il 11 Vijaya 74 BHARATA-O Vijaya, apnounce me to her ladyshup 75 PORTRESS-To which of the queens sball I announce? 76 BHARATA-To her, wbo wishes me to be king 77 PORTRESS--(To herself | Hum! What could the matter be (Aloud, Master, I will (Ex 1) 78 (Then enter Market and the Portress) 79 KAIKEYI–Vijaya, bas Bharata come to set me? 80 PORTRESS-Yes, mistress I be has Father Surgantra has come back from bus visit to prince Rama It is indeed with him that prince Bharata wishes to see you 81 Kaikeyi- To herself) Vath wbat (fu ther) infliction will Bharata chauise me (now)? 82 PORTRES—Alustress, shall the prince enter? 3) Kaikeyi-Go, briog him in $4 PORTRES -- Mistress, I will (Arouing along and going near) Hajl to be prince' Do get in, please 85 BHARATA-Vijayā, did you infort her? 86 PORTRZsS-Yes 87 BHARATA_Then, let us both get 10 (Both enter) ** Karstyl-My boy, Vijaya says that Sumantra has returned from his visit to Rana 69 BHARATA—More pleasing news than that, I will tell your ladyihp ·140 THE PRATIHA NATAKA 99 Kailbyl --My dear son, sball Kausalya and Sumitra also be invited (here)? 91 BHARATA --Surely it should not be heard by them 92 Kaikeyl-(To herself) What could it bc? (Aloud) Say it, my child 93 BHARATA - Listen 94 Sita, the wife of bim wbo went in forest at your behest leaving aside his kingdom, has been abducted away Is your desire fulblled ? [13] 9$ KAIKEYI-Hom! 96 BHARATA-Oh! Alas! By having first obtained you as their daughter in law, it has come upon the high-souled and courageous Iksvakus, that their daughter-in-law (Sita) has been out-raged 97 Kaikeyi-( To herself) Well, now, it is time to tell bio (Aloud) My son, you are not aware of the curse upon the great king 98 BHARATA-Was the great king cursed ? 99 Kaikeyi - Sumantra, tell him in detail 100 SUMANTRA-As your ladyship bids Prince, please listen Formerly a sage boy who was the cye of an eye-less grcat jage, was killed by the great king gone out a hudung with an arrow buting the mark following its sound through the mistake that it was a wild clephant, 11 (the mistake) being caused by the souud resembling that of a wild clephant, as he (ebe sage boy) was filling a por (with water) in a certain lake 10' BHARATA-"Killed' you mean God forbid at Theo' 102 SUMANTRA-Then, seing him in that stale,- 103 By that truth speaking sage, alier wecping, this was uttered "O ki9g, you too will die thus out of grief due to a son just as I (die now) [15] 104 BITARATA-Oh, this 19 really painful! 10% Kalevi- Vy son, for this reason, allowing myself to 17 ·ENGLISH TRANSLARION--ACT VI 141 blame, dear Rama was sent to the woods, not at all through gredd for kingdom The unavoidable curse of the great sage would not come to pass without the son's banub meat 106 Bharata-If so, when the son's banish bocat was common (to all of us), wby was not sent to the forest? 107 Kaikeyi ---Child, the banishment of yours residiog in your maternal uncle's house wat quite in the natural course of events 109 BHARATA-Then, for what reason were faurteen years hut upon? 109 KAxeyi-My boy, desirous of saying 'fourteen days', I, much disturbed mind, uttered 'fourteen years 110 Bharat - There is cleverness (coough) to be thoroughly considered Then is (all bus) koowo to the elder? 15 SUMANTRA - Prince, known and agreeable too to Vanstha, Vnmadeva and others 112 BHARATA Good I These are indeed witnesses of all the three worlds Fortunately, Your Majesty 1 not guilty Moiber' you moun forgive me for everything that you were blamed by mc whose anger was roured by fraternal affection O mother, I bow dowo to you ! 113 Kaikey!-My son, which mother, Indeed, will agt pardon the fault of her dear son? Do rise Where 18 aby Fault ra thus (your behaviour)? 114 BHARATA-I am bebolden to you I take leave of you This very day, I will prepare the enure group of the (ſcudatory) princes for the help of my noble brother Now, I shall 115 Make this shore of the sea dark with my ofatuated elephants and get covered with the camps of my numerous troops I will also reduce the sça, along with Ravana, to a common state of langour, by my ſorces crossing it (16) 116 Ey, something like a cry! Quickly find 11 out, please 117(Entering) The PORTRESS—Hail to the prince ! On hearing shis news the eldert queen bas swooned !

·142 THE PRATIMA NATAKA 118 KAIKEYI-Hun! 119 BHARATA-How now! Moiber has swooned ! 120 KAIKEY! - Come along, my son Let us comfort the worthy lady 121 BHARATA -As my mother bids (Exeunt omnes) END OF THE SIXTH ACT 2 ACT VII ( Then enter a hermit) 1 The Heruit- Nandılaka, O Nandılaka ! (Entering) NANDILAKA-Sır, here I am THE HERMIT—Nandılaka, the kulapat says - After (firse) laying Ravana the abductor of his wife and a terror to all the three worlds, having installed as king Vibhisana, of a conduct opposed to the entire) group of Raksasas and bearing the adornment of a multitude of virtues, - here the honourabic Rama charming like the meon in the autumnal clear sky and surrounded by she chiefs of bcars, demons and monkies, has arrived bringing with him Sula of a spor less character as tesufied by god, godly sages and Siddhas Hence to day in this hermitage please keep ready everything that can be provided for within our means * NANDILAKA--Good sir, cverything is kept ready, but-- 5 THE HERMir_But what? 6 NANDILAKA-Here are the demons related to Vibhisana Regarding their food the kulapalı should decide i Tu HERMIT-Why? NANDILAKA_They, in fact, cat (flesb) Tae HERMIT-No, no, don't worry The Raksasa are obedient to Vibhisana, to be sure 10 NANDILAKA-An obeisance to the virtuous demon!(Exit) 9 ·ENGLISH TRANSLTION-ACT VOT 143 11 Tue Heryn~(Serang) Ey, here is the noble Raghava! Here he, 12 The lord of men har alighted on the surface of the carth from the aeroplane, as he is being praised by a number of d-lighscd sages bus,– "Victory to you, O best of moen! May cveo a second enemy (if there should be one of yours be vanquished (by you)! May the earth, under the tosigara of a single umbrella, be subject to your rule" 13 May you be victonous! May you be prosperous 14 MISRA VISKAUBHAKA 1s (Then enter Rāma) 16 RAHA-Oh! 17 Having destroyed Ravaga of increasag strength and valour, having got back Sua, quite pure and endowed with all the virtues in this world, and having fulfilled to the last Jeter the words of my elders, I have once again come to the forest-residence of the sages [2] 16 Martbui who went inside for paying ber obcuance to the ascenic women 13 jodeed delaying Sering) Ey, berc, Vaidehi, 19 The daughter of king Janaka, 1 coming slowly being addressed very affectionately by the hermic women as “Friend', 'Sıla', 'Japaki', and 'Daughter in-law', in accordance with their age [3] 20 (Then enter Sisa and a hermi roman) 21 Tnz HER IT Woman-Friend, here is your husband, go near him It u unbearable to see you alone 22 SITĂ_Yes Even now, it appears unbelievable to me (Going near) Hail, my lord 23 RANA-Maithili, do you remember this Janasthana which was our former residence? Do you recogaise the treng bart that weit vided 35 sva be you?

·144 THE PRATIMĀ NĀTAKA 24 SITA Yes I do recognise Their leaves were to be scen by looking down wards, (but) now, they have become such as to be seen by looking upwards 25 RANA-This us just so Time is indeed the producer of Jevel-ness (even) to a low ground Maithili, do you remember how a berd of deer got frightened on seeing Bharata clad in white, underneath this Saptapama tree? 26 SITĀ_My lord, I remember it quite well 29 RĀMA_This is the extensive bank (of Godavari river), the witness of our penance It was while we were sitting here thinku g of the performance of the ceremony of father, that the Golden sides' deer was seen 29 SITA—Ha! My lord, please do not mention that (Trembles with fear) 29 RAMA-No, don't worry That time is now over (Looking at the quarters) Ey, whence indeed is 14,-- 30 Dust, as white as the lodhsa flower, is rising high, and being blown by the wind pervades the quarters! Further this blast of the conches supplemented by the decp sound of the peal of the drums, is converting this forest into a town' [4] 31 (Entering; LAKSHAVA-Hail to my brother' Brother! 32 Full of fraternal affection and cagerness to behold you, here has arrived Bharata together with the mothers and a huge army (5) » RIMA--Dear Laksmapa, has Bharata really come? 34 LAKSVAVA - Yes, noble brother 35 RĀNA-Mauthill, let your cyc be widened to behold Bharata leading your mothers-in law. 36 SITA-My lord, Bharata has come at a desirable time 37( Then enter Bharala urth the mothers) 31 BJARATA -With a satisfied mind, and followed by the relatises, I have come here desirous of seeing my elder brother to day in bc company of the noble lady (sita) and ·ENGLISH TRANSLATION ACT VII 145 43 46 freed from the several calamities of vety great coocera, libc the clear moon freed from clouds in automo. (6) 39 RANA Mothers, I bow dowa to you 40 All-My son, live long We are really very bappy on scuing you safe with your wife, your yow being over. 41 RĀMA-I am beholden to you 42 LAKSVAVA-Mothers, I offer my obeisance to you 43 ALL-My 100, live long 44 LAKSHASA-I am beholden to you Sira-Worthy elders, I bow to you ALL-Dear girl, live long with an auspicious fortupc! 47 SIT-I am bebolden to you. 18 BHARATA-Good brother, I, Bharata, bow down to you. 49 RĀWA-- Come on, come near, my dear Ikşvaku prince Hail! Be long lived! 50 WYıden your chest of the measure of the closed panels of a door, embrace me with the pair of your stout arms Hold up this face (of yours) resembling the autumnal moon, (and) gladden this body (of mine) which is sorched by calamitics 17) 51 BHARATA-I am bebolden to you Worthy lady, I bow to you I am Bharata $2 Siri-May you live long as ibe companion of my lord! 53 BHARATA-I am obliged to you Brother, I offer my obeisance to you 54 LASSMATA~Come on, come near, dear boy Be looglived; embrace me closely (Embraces him) 55 BHARATA-I am thankful to you Good brother, please receive the responsibility of kingship. 56 RIMA-Dear brother, how do you mean? 57 Karceyi-Miy boy, this is indeed a long cherished desire, : (Then enter Satrughna) 39 SATRUGANA-Ay moind bastens to sec that elder brother of raine wio destroyed Ravaşa, and who, although) 18 58 ·146 THE PRATIMA NATAKA afflicted with various calamities, had his virtucs and spirits unaffected [8] 60/Going near) Worthy brother, I am Satrughna I bow to you 61 RĀMi Come along, como acar, dear boy Hail to you! Be long lived 62 SATRUGHNA-I am beholden to you Noble lady, I bow ID you 63 SITĀMy dear boy, live long 64 SATRUOHNA-I am obliged to you Good brother, I bow to you 65 LAKSMANA-Hail1 Be long-lived 66 SATRUOHNAThank you Good brother! Thesc two, Vaustha and Vamadeva, together with the citizens, are destrous of sceng you having arranged for your sostallatron 67 These multitudes of sages desire to see your face, first consecrated here by the sages through your grace with the holy waters brought personally by them from the diffe rent great and small rivers, and thus appearing like a lotus dicoched with water [9] 61 KAIKEYI -Go, my boy, under go the consecration 69 RAVA-As my mother bids 70 (Behind the curtain) Victory to you! Prosperny to our master! Hail to be great king' Glory to our lord 1 Success to the sweet-faced king / Triumph to the noble king' Victory to the destroyer of Ravana 1 71 KAIKEY! These priests and chamberlains hailing exclamation of victory to my son, are honouring bim with their blessings' 72 SUMANTRA-The subjects, servants and the good people are hailing victory to my son ! 18 (Behind the curlain) Oh, ye sager, dwelling is the Janarthanal fisten, all of you ! 74 After destroying that matchless mass of the dartres Illuing from the enemy just as the suo docs (dispel) darknesi ·EUCLIS TRANSLATION ACT VII 147 Ibrough beams full of valour, having got back Sia who is to be excluded from all evils, Rama, the delight of all people, is triumphant oser the carb' [10] 75 KAIKEYI Oh'exclamations of victory are being hailed to my son' 76/Then enter Råma comiseerated as king, uith retenue) 77 Riva--(Looking up, in the sky) Ob father! 78 Obtain satisfaction, although in heaven, leave off melancholy Here bas been that function (consecration) which was desired by you for me I am (now) indeed the king on carth shouldering the honourabic responsibilny (of king-ship). The protection of the people justly has been promised (by me to them) 79 BHARATA-I do not get qucached with satisfaction as I remain beholding my noble brother resembling the fresh moon, by whom the uitle “king' is acquired, over whom the royal umbrella is being held, who has put on ap (expanded) prcity crown, who bas been consecrated with boly watcr, who is respectable, who has gained a gratefulness, and who is being saluted by crowds of people [12] 80 SATRUGUVA- This family of mibe which has been freed of us stain by the installation of my noble brother regain: brilliance just as the world does at moon 1180 [13] " RAMA-Dear Laksmana, I have acquired the fingdom 12 LAKSMASA-I felicitate you on your prosperity. (Entering) The CHAMBERLAN Victory to the great king' Here indeed the honourable Vibhisaga and also Sugriva, Nila, Mainda, Jambavan, Hanūmān, and others following him, respectfully offer their felicitations to you 14 RĀMA- Please tell bem - 'Hus prosperity is by the fayour of his allies " THE CAAMBERLAN-As the great luog bids 16 Katkeyf) am really bappy. I wish to see this auspicious ſuccuon in Ayodhya -

·148
THE PRATIU NĀTAKA
87 RIMA -Your ladyahıp shall 3cc 16
(Seeing) Ob' the
whole of this forest shines with lustre, like the Sun (Reflect
ong) Ah, I scePuspaka, the aeroplane of Ratana, has
arrived in the sky There has been an under standing with
1 that it should present itself the moment it is thought of
Hence, all may ascend it
(All ascend)
** RĀMA-This very day I will go to the city of Ayodhyā,
being followed by my relations and friends
89 LAKSMANA–This very day let the citizeos behold you
( appearing ) like the moon just rising up together with
the stars
[14]
90 (Epilogus)
Just as Rama Was united with Janaki and (hus other)
relauves, so also may our king, united with the Goddess of
Royalty and prosperity). govern the carth
(15)
(Eseuns Omnes)
END OF THE SEVENTH ACT
HERE ENDS THE PRATIMA.NITAKA

·149 NOTES ACT I प्रतिमानाटकम् - प्रतिमायानं नाटकम् | The name Pratini. nalakam is after the most original and impressive Pratima scene (3rd Act) of the play. rapid ca: EÂUS FESTT:- At the trad of the Nandi, then caters the Sitradhára, Noce the repetition of tbc same sense in sprä aad ya: 1 All the plays of Bhāsa opca with this very siage-direction, except the Madhyama vyayoga which has simply 77: FOR 2977: 1 Evidently Nándi can por be taken as the sloka which comes after this direction. It must refer to the preliminary music before the Süttadhāra enters the stage. Thus according to T. Ganapati Sastrim मन्दिः आनन्दः तम्याः इयं नान्दी। गीतवाद्यवादनादिरूपा क्रिया which forms the last item af ebe pūrvaraðga. Hence Art 42 Hai In these dramas, as also in the South Indian Mus. of several other plays, the stage-direction makes it clear that the Sucradbāra recites the invocation; while in other plays, the sloka (usually called the Nändi) is introduced first in a bald manner and then the stage direction नान्यन्ते सूबधारः । given indicating the entry of the stage-director afterwards. in Dhila's drama), the Sürradhara enters the stage ar the outset and recites the bencdiction, the Nindí having been over behind the curtain. Hence they are known as TIC FAITHT: 1 Cl.-aarabartai HATHAR: 1 सपवायशो लेमे मागो देवकुलेरिव ।। The Sahityadarpaqa defines Nândi chus आशीर्वचनीयुका स्तुतिर्यस्मात् प्रयुज्यते । देवदिजगपादीमा तस्मानान्दीति संशिता ।। Nandi alia means a trumpet or drum. Hence Dr. Lakshman ·150 THE PRATIMA NATAKA 2 - Sarup thinks that Bhara's plays commence after the beating of the drum सूत्रवार -सूत्र (नात्यानुष्ठान) धारयति (प्रवर्तयति) इति । Cr - मान्यम्य यदनुष्यान तत्सून स्यात्मवीजकम् । रमदैवतपूजाकृत्सूत्रधार उदीरित । Strictly speaking the Sutradhara has to recite the bene diction and retire It is the Sthapaka who should come on the stage next and perform the introductory function ci पूर्वरङ्ग विधायैव सूत्रधारो निवर्तते। प्रविश्य स्थापनस्तद्वत् काव्यपाखापयेत्तत ।। This accounts for the introduction being called 'Sthapand This siloka is in the form of an api (blessing, benediction) and grafŽTT (hinting of the plou) सीतामय (75**) 911—May (Rama) the lord of Sita proteci, 7 - us, the object is understood TL 149 (= god ie, lord, or husband) --सीताभव ! सीताधव 1s another reading सुमन - (1) pleased with good counsel, (2) pleased with Sutoantra his father's charioteer, or (3) pleased with the recitals of ) holy mantras gota UTA – charming with his beautiful neck, 774 18 1 967574 -having Laksmaga as his companion 77779afato rifera Afanal, who was (not merely) an cnemy of Ravaqa but a matchless ont also argfag is used here also to suggest the idea of the afaat in Act III froto whtch the play derives ils utica - The instrumental ending is gray His wife was the cause Tor his becoming the enemy of Ravana F#79741-(1) to wbom Vibbisana was like his own self, (2) who was of a ternfic nature In the case of the latter meaning, you can be construed with forma also, for, he became iernfic only on account of hu wiſc Sita It is also possible to view mamat ng two words combined together cuphoni. cally, in which case, they are to be split up as afati TITAT | Now aftaf = who was not at all of a terrific nature ya (47 alla fà)- the protector (of the world) ·NO ES ACT I 151 < Pandı Ganapau Sastos tales fiATA as one word मिमीयगे प्रामामे रत - laterested in Vibhisaga who was like his own self angangast at, in every birth This sloka is a beaediction and as good as a Arai The subject matter is hioied to by what u called the AFER through which rai, 97, , 11A, 37, 177 and 777 are also mentoned by samt The pape of the play, and she author's paruality to the analy) Statue hou!c scene, ie, the 3rd Act, ii suggested by the use of gfag in Enfah in the 3rd line of the stanza Thu Elart for the opening verse 11 eroployed a bree other plays of Bhasa, viz , gfast- योग रायाम् , बनवासवदत्तम् and पदरानम् । MARA - curtain, greco room Ati-The Sätradhara addresses the Nazi and asks bet to come upon the stage *71, 997-She comes dear bith and say: 'Here I am,' tbus indirectly asking him what she has to do The Sutradhāra straight-way asks the Nagi to sing a song about the 7EET, the season in whicb they usually epacted this play There is a similar shing evçn jo the Sakuntalam of Kalidasa Bhāsa does not make thc Najl slog in some other plays of bus, such as the 777177TA 1 7 & Soon after the Magi's singing is over, the Sultadbara hurriedly concludes the prologue When he is just observing that in that particular season the female swan, clad as it crc in a silk garsoent as while as the kas'a flower, movci about op the sandy banks of rivers, be hears a voice, ari' and is interrupted 10-11 The Sutradhata canly makes out whore voice it is and while completing his oborrvation regarding the 6, 1uggests to the audence that it is a portress in the pala calling out some one in ter delightful hurry. With this video *TTAT is over ·152 THE PRATIMA-NĀTAKA 12 स्थापना-Prologue or Introduction While other drama. usts use the term प्रस्तावना, Bhāsa uses स्थापना in ll out of his 13 plays in KB, it is called fa14-, while in the Miss. of Băla, there is no such expression. आमुग्यम् , प्रस्तावना and स्थापना are synonyms. The type of prologue employed here, as well as in the other dramas of this group, are technically called प्रयोगातिशय, because of the sudden introduction of a new actor. In seven plays, viz., SV, Pafica, MV, DG, KB and Bala, she Sütradhāra alone appears in the Sthapana; in four, viz , Pratijka, Avimāraka, Carudatta and Pratima, he appears with the Nati; and only in ewa, viz , Abhiseka and Urubhanga, he appears with a Päripársvika " काञ्चुकीय same as कञ्चुकी (कञ्चुक: a long white robe अम्यास्ति इति) - Chamberlain. cr - 'ये नित्यं सत्त्वसपना कामदोष. विवर्जिता.। शानिशानफुशलाः काञ्चुकीयास्तु ते म्मताः । and अन्तःपुरचरो पद्धो विप्रो गुण गणान्वितः । सर्वकाधिकुशलः कञ्चुवीत्यभिधीयते ॥ HETTY-One who has a great chariot; or, one who is a महारथ । There are four kinds of warriors - (2) रथ (3) महारथ and (4) अतिरथ | Cr Def-एको दासहरमणि योधयेद्यस्नु धन्विनाम् । बालशास्त्रवीगार्थ स महारथ उच्यते ॥ भर्तुः दारकः मतदारकः - prince. राज्यप्रभावसंयोगकारकाः अभिषेकसभाराः materials for consecration that would invest ( Rámoa) with regal powers. - The अभिमभारs are six-(१) ....मदासन पस्चितम् (२) तीर्याभ्युपूर्णा घटाः न्यस्ताः (३) पुष्यायः युक्तः (४) मन्त्रिसहिता पोरा. ममभ्यागता. and (६) वेय पमित: स्थितः । भदामन-~the throne of Hale tuisy-water of holy tivera, lakes, xas, ele, 99979- the stately chariot used for going in procession. The मारत All the prople were eager to tee Ratna't abhiseka. On seeing him they would feel glad si on beholding abc Rama is compared to the moon in vi 12, vii 6 & 14. 13 (1) अधरय the moon h ·NOTE3ACT I 153 25 23 anágefaq must refer to Vamadeva as Vasistha was already presene Raf- PITATI 77491far = 3f49F- कालरोनितेन । अन्याहिनम् - महदकार्यम् । For the first time in her hle Avadatika has committed theft although of a small thing, a bark garment Hence she is very much upset at ber own decd E-merely as a joke #gaziita hints to Kaikeyi's interfering with Rama's consecration, elsewbere in VIZ the palace 27 afturgava-Note Sità's ability to study thac facial expression of others 28 The Ceti correctly infers that Ava dauka must beguilty of something being after all a scrvant But 29 Sıta observes that Avadatka is trying also to smile as it were 30 नपपपपराधा Avadauka being a culpril obviously thinks that Sita and the Cati arc conversing about her theft and hence says 10 * अत्यपराय इति - रखाकन अपराध एन वकाहरणम् अर्हति इति, इट फल मया गृहीतम् । 35 FITF 994-Note the brief but siguificant observation of Sita 36 Avadatika tries to defend her position saying परिहामनिमित्त पल मौतदानीतम्। But Stta says to Avadatika 37 pazingia'Yous stealing the bark garment cannot be Justified You have stolen for fun aow, without any excuse for doing 10 Thus your mistake becomes graver ** B119f74 gaq 314 is indirectly in praise of Sita's extra-ordinary beauty A person who is beauuful looks grand in any dress cr अथवा समरशरो भवति सुरूपागा- Avimaraka II, किमिव हि मधुराणा मण्न नाकृतीनाम्-Sakuntalam I 8, and 871AFATA Tigar silui gagfa Malavika 11 Suta wears the bark (977) not knowing that it is shortly going to be her dress for several years to come 19 ·NOTEACT 155 70 af fra Rama had come there quite uacx pectedly Suta was still clad in the bark garment which was inauspicious in the case of a young princess Hepce this remark of Avada t1ka 13 rufe, fama? - Răma 13 surprised to find Sita not greeting him even afer his going there, hence this quesnon of his to her. The fact is that Sita 18 perturbed to find Rama there when she is still in the bark dress, as a result, she has failed to rise up and greet her husband 79 38TTA à ZR Rama, a loving husband of Sita as bc was, nouces Sua's curiosity and rclates to her, of his own accord, all that had taken place in connection with his consecration " Råma's question ' 097 ?? o Stra, inutead of answering bers 'तदानीमार्यपुत्रेण कि मगितम् !' is quite natural of a husband who fondly loves hus dcar wife The answer of Sia 82 TIA is marvellously tbe truth, and Rama admires her for bar correct guestlog above 14 Note how picturesque the description is, although in a few words 90 The words "F94 etc of Sıta are much appreciated by Ráma and be simply gazes at her face in admiration, when he suddenly notices that she has laid asıdc all ber Hence his question are på fagurgrif ! 92 The only ready and convincing answer she can give, - which is obviously an evasive reply, is that she is just going to wear them 93 But Rama » cleverer than sbe He observes tpat she must have removed the ornaments just recently He explains 18 9 how it cannot be otherwise Sita again avoids pursuing the topic by saying 9 पारयत्यार्यपुत्रो seren.. 9Rama then finds a mirror closeby He holds 83 See note on 69 ornaments ·156 THE PRATINA NATAKA it before Sita, himself situng by her side, such that both he and she could see her image in the mirror Thus he notices in the mirror that Shta is clad in bark He cannot believe his own eyes and heace he asks her 97 कलानि इव किमेते 2 101 मा खलु of Sita shows how she cannot bear the idea of any 377 zo her husband Note the syntactical irregularity of At with an infinunve here and off with the indeclinable past participle of 3897 in 104 10$ 7 ET ET RETIS I-The cry due to Dasaratha's swoonjag is heard from behind the screen In stanza 11, Rama surroises correctly the cause for that woeful cry of both mea and women together 114 pacta P etc - Rama obviously does not know why his consecration was stopped As staled by himself 10 staaza 7, all that he kaows is that Alantbara whispered something into the car of Das'aratha and his consecration was stopped It is only now that he comes to know of the details 117 an fa 3 shows the implicit fauth Rema has in elderly persons that they will never do an unworthy act 120 Rana advances a very strong argument in support of bus vicw that I Kaikeyi had done anything it must be for some future good 121 The Kaficukiya holds that women are always crooked minded and never to be trusted But in stanza 14, Rama enumerates five different advaptages of Kaikeyi's stoppiog his consecration -(१) पार्थिवस्य वनगमननिवृत्ति (२) मम पितृपरवत्ता (३) स एव मम बालभाव (४) प्रजाना नवनृपतिविमर्श न शक्षा अस्ति and (५) मे भ्रातर परिभोगै न वञ्चिता । 126 margele - Referring to Kaikeyi's demand for tbc consecration of Bharata, the hafcukıya asks Rama अवाप्यलोम । as a retort to Rama's observation ( HT FEET ? 19 Stadza 13 above Rama proves in stanza 15, ·NOTES-ACT ! 157 that Kaikeyi's demand for the consecration of Bharaia was quite justified, and that, on the otber band, tbe 1 (greed) was in him as he was prepared to take away for himself the kingdom which was really Bbarata's Cr पुरा भात पिता न स मातर ते ममुद्वहन् । मातामहे ममात्रौषीत् राज्यगुन्कमनुत्तमम् ।। देवासुरे च सग्रामे जनन्यै तव पार्थिव 1 सप्रहटा ददो राजा बरमाराचित प्रमु ।- Ratoayana 2-107 3, 4 - The Kabcutiya is about to cite another instance to prove Kaikeyi's wickedness, but, Rama stops him He us not prepared to listen to any more insults of his mother Thus hus words 1306 796 far? MAI' show hus magnanimity 134-39 Next Laksmana is introduced to inform Rama that he has to retire to the forest and dwell there for 14 years (stanza 23), as a result of Kaikeyi s second demand Laks. maga is very much upset at this demand of Kaikeyi and has foolishly resolved to kill all young women on the face of the earth, as the presene misfortune of Rama has been brought about by Kaikey), a young woman He asks Rama to join him o carrying out his resolve and tells bim 139. It is no good to be teek Everyone who trusts his relations and is meek na only insulted 10 ibis manner 140 ariga, tfn oleh etc shows how mature Sita's thoughes arc, although she is quite young in age Cr vi: 35 and iv गाच्यम् आमन (स्थिति ) यस्य स , तस्मिन् शोच्यासने, lamentable condition सदेह - dilemma ("=or" is under stood) infe-absence of resolution anz asfa VI ETT occurs also 10 Abbiseka 11 22 ATA R1979 also occurs in Abhiseka 1: 47 and Ducagbago:kaca 12032 2! tan- the nasal on the 143 in a 146 ·158 THE PRATIMA NATAKA sin inflative and is dropped in the compound by the rules काममनसोरपि । नियत व must be नियति रिव, as नियति is the correct nominative singular feminine 151 नमयि must be नमयै 1st angular Imperative of the causative of 741 In this stanza Rama points out that none of the three persons, Viz Das'aratha, Karkeyi and Bharata, 19 at fault Discharging an arrow upon any of them is a Thus, three sins could be committed Rama asks Laksmana referring to has anger, which of the three sins was commendable,— ATM at faggragg ? Laksmana's reply to this tevcals to Rama the actual circumstances which caused Dasaratha swoon and Laksmana get angry vpon Kaikeyi 159 Rama immediately prepares to proceed to the forest and asks for bark garments 156 They are readily given 158 64 Sita 15 eager to follow Rama and persists that as his Teuhuſt she ought to go with him 166 Laks maſa supports her cause citing three different instances in stanza 25 Cr शशिना सह याति कौमुदी, सह मेघेन तटित् प्रलीयते । प्रमा पतिवर्मगा इति प्रतिपन हि विचेतनैरपि- कुमारसभवम् v 53 $71 77 Laksmana too expresses his eagerness to follow Rama and Sita Sita first dissuades bim but, when he per sists asks Rama to favour him also with his permission to follow theID 179 Four different functions of the valkalas arc gica by Rama here Hc suggests indirectly in this stanza that pracusing ma is like marching forward in the battlefield 186 throws light on the condition of the society in Bhara's Purdah system was obviously in vogue then The stanza tells us that women were free to remove the vells from their faces during sacrifices marriages, calamities and in forests of व्यसनेषु च कृन्छेषु न युद्धषु स्वयवरे। न तो नो विवाहे ar gaua fatal I—Ramayana 6-114-28 times ·NOTES-ACT I 159 190 FT:241976 is 'principal abades' according to Pandit Ganapati Sāstri; (FT:AETTA ) likeness our heads, ic, 'aur persons painted in his palace.'- according to Devdhar and Kale. Rāma docs not wait to see his grief-stricken father, and hurrics away towards the forest. Rāma did well in doing so because he ſcared with good reasons, that Dasaratha might persuade him to stay in Ayodhyā and not allow him to go into exile, by saying '99 aut. arfa eti' or some such thing a, he had said earlier to make Råma consent to his consectation. In the Ramayaga, Rāma sces his father before deparing for the forest. The bark garments are then distributed to Rama, Laksmana and Sita by Kaikeyi in the very presence of Das'atatha who objects to Sitā's wearing the bark dress and orders that she must be clad only in rich will and take with her plenty of ornaments to wear even during her forest-lifc, Bhasa has deviated from all this. See Intro. duction, page 37 all the changes effected by Bhāsa in this Act centre round the 257% affair, Hence the Act is popularly known as the यस्कलाका - ACT II ( The audience are informed towards the end of the first Act that Das'arasha is in a precarious condition. The Second Act brings him in the said condition on the atage and shows how he dies. Rules of dramaturgy do not permit exhibiting the death of a person on the stage. But Bhása actually shows the death of Das'aratha in this play. On cxamining if there is scally any need for Bhsia's doing 10, we only come to the conclusion that the whole Act is simply fuperfluous. In Act I, Dasaraska's condition is described.

·160 THE PRATDIA NATAKA So a Vaskambhaka or a Praves'ala would have been quite cdough to communicate to the audience that Dasaratha is dead out of putra s'oka Thus from the first Act we can directly go to the third and not miss any connection in the trend of the story Then why did Bhasa introduce thus 2nd Act here? The only answer that can be given is that he chose to give us excellent poetry there-in In fact, everyone of the stanzas in the 2nd Act shows Bhasa at his best in describing things in a very vivid manner Dasaratha's con versation with Sumantra relating to the order in which the names of Rama, Sila and Laksmana are to be mentioned even when referring to them, is soul stirring The touch ng feelings of Dasaratha when he is on the point of death are described in a masterly manner By Bhasa's introducing this scene in this play we have all this beauuful poetry.] The Second Act has a Mista viskambhaka (a prelude) at its beginning It acquaints the audience with the grief stricken state of Das'aratha of the elephants and horses in the palace, and of the citizens young and old, men and women all alıke after Rama's departure to the fores! It consists of a brief conversation between the Chamberlain, a minor character and the portress, a low character, the former speaking in Sanskrit and the latter in Prakrt As one of the characters 18 minor and the other low, the Viskambhaka is of the misra type If both the characters were dinor, then it would have been of the Suddha type The purpose of a Viskambhaka is to explain briefly wha as occurred in the intervals of the Acts, or what is hikely to happen later on It always appears at the commencement of an Act Cf — वृत्तवर्तिष्यमाणानां कथाशाना निदर्शक । संक्षिप्तार्यस्तु विष्कम्भ आदावतस्य दर्शित ॥ मध्येन मध्यमाभ्यां वा पात्राम्या संप्रयोजित । शुद्धस्स्यात्स तु सङ्कीणों नीचमध्यमकल्पित ||- साहित्यदर्पणे ·NOTES-ACT II 161 18 19 14 Each of the first three lines gives one outstanding feature of the character of Rama, Lakşmana and Sitä respectively gives five different admirable qualities of Rama 21674 NĂT The ag adopted by Rama is des cribed as 7993 here, as it has made him abandon his own father 20 de cribes graphically Rama's departure with Laks. mapa and Sita lo the Sun's setting together with the duappearing day light and hadow 22 Das'aratha means to say how he wished that fate had brought about three things, viz, - - (१) ययम अनपत्या , (२) राम अन्यम्य महीपते पुत्र and (३) कैकेयी a ugress in some forest and not a princess 23 atau 790g -- note the syntactical erregularity in using अल with सन्तप्य। 35 37478997999 can mean-(1) One who is an unloving mother (2) One who gave birth to an unloving 100 29 7. — Dasaratha bad already lost the power of his scnscs as seen in his two questions to Rausalya- (१) का च भो ! and (२) इयमपरा का ? Cr सुपा या न पश्यामि saga fogad-Ramayaņa 2-65-65 36 नस्तदिव ॥ an arregular द्वन्द्व compound of नक्त and far by the rule 275.722atte --Pánıni 5-4-77. 42 fifarafawatta occurs in the Svap asavadatta 1ymas अनतिक्रमणीयो हि विधि । छ मे ज्येष्टो राम " changed by Dasaratha to क ते 2019, because he feels that he has no right to call Rama his con in view of his own unfatherly treatment of him The vocative 1977 referring to Sumantra is to say that he (Dasaratha) himself is not sucb Atlatuult: - fallasta 20 32 ·162 THE PRATIMĀ-NATAKA . . T: 3787 | The compound is tesolved as in the case of ETHI: (Raghuvams'a x1 19) Compare the remark of the वृत्तिकार-दृढभक्तिरित्येवमादिपु स्त्रीपूर्वपदम्या विवक्षितस्वात्' । हतपितृकम् - The # affix denotes reproach here 54 मा मैवममङ्गलवचनानि of Sumantra refers to Dasa. ratha's calling himself care and 371471Co Bui Dasa. ratha takes it as referring to the mode of his question with regard to forest dwellers, hence his statement 55 सत्यमयुक्तमभि- हित मया । नगयं तपखिनामुचिनः प्रश्न' and his revised questions 56 Sumitra's reference to Sita as apat 37932hat is very significant 56 64 form a soul stirring conversation *producing maximum effect in st 15 When the names of Rama, Laksmana and Sita are pronounced hy Sumantra, Das'aratha feels as if they are in person beforc him and observes that the order of the names mentioned by Sumantra makes Rama and Laksmana go in front leaving Sita bebind to follow them This gives no protection 10 Sia in the forests full of dangers Hence the great concern of Dasaraiba to see thai Sua comes in between Rāma and Laksmana even when their names are mentioned at = even in this mentioning of their names The order in which they proceeded to the forest is given in the Ramayana II 11 95-96 - 'अप्रतो गच्छ सौमित्रे सीता त्यामनुगच्छतु | पृष्ठतोऽनु. गामण्य मि सीता त्वा चानुपालयन् ।।' As per this order Laksmana goes in front, Seta next and Rama behind both of them 3777 agat RIA', 182 of Laksınaņa also indicates that Bhara has adopted the same order for them Dasaratha 19 not particular whether Rama goes in front or Laksmana, he only wishes that Sita should be safe in between them 76 Shows how all of them were over powered by emotion and could not utter any words According to the Ramayaņa,--Rama and Laksmaņa send a message (Vide ·NOTES ACT 111 163 86 IT In 27–36, lvnu 15-33), while sita simply sighs and is unable to speak B With this, cf राम मेऽनुगता दृष्टिापि न नियन्ते। न त्वा 9777 11271 ATE AT AT FIT I-Ramayana II x)2 34 83 Gives the intention Dasaratha had in his mind, which was totally upict by Kaikeyi 83 जीवित -the plural 1s as an प्राणे । क्षिप्रमानीयता पुन पाप #4792 14 full of sarcasın To this Sumantra slaaply says 71777967 ET31, but does not go to convey his words to Kaikeyi 87-94 The pathetic scene of the last moments of Dasaratha given here ss very touching The Death icenc of Valın in the Abhiscka and Duryodana's agonies of death in the Urubbanga may well be compared with this མ་ཎnisའི་ Chn expression Oscars agam set tv BS and sa five other plays of Bhasa, viz Madhyama Vyayoga, Patcaratra, Dutavakya, Abhiseka, Pratiba १० निमम्य, प्रविश्य Note the rapid action and that water 2s actually brought on the stage, which are common features of almost all the Trivandrum plays 91 These names of Dasaratha's ancestors are in the same order as in Kalidasa's Raghuvams'a This order agrees also with that of the Statues installed in the slaarze (Act III) This Act is called the दशरयनिवागाई । 89 ACT III (This act has a Pravesaka at its commencement It acquaints the audience with the news tbat the widowed queens are going to pay a visit that day to the Statue House where Dasaratha's statue has also been installed along with those of his predecessors The day some-how coincides with ·164 THE PRATIMA-NATAKA the day of Bharata's return to Ayodhya from his maternal uncle's capital Not knowing either the programme of the queens' visit to the Statue House or that the Statue House which looked a temple was the place were the deceased Ikshvaku kings Statues where installed, Bharata enters the House earlier and learns the shocking news of Dasaratha's death and the exile of Rama, Laksmaņa and Sita, calamities brought about by his own mother Kaikçyi Shortly after wards the queens enter The whole Act 18 full of interest and dramauc force ] [ A Praves aka is an Interlude acted by inferior cha. ractees for the purpose of acquainting the audience with events not represenled on the Stage, but a knowledge of which is essential for the proper understanding of what follows, (like the Vrşkambhaka, 1 connects the story of the drama and the sub divisions of the plot, by briefly referring to what has occurred in the intervals of the acts, or what is likely to happen at the end, it never occurs at the beginning of the first act or at the end of the last)-V S Apte ] -प्रवेशकाऽनुदात्तोक्त्या नीचपात्रप्रयोजित । अद्वयान्तविजेय शेष विष्कम्भके यथा ||-साहित्यर्पणे 308 TUIFIT --the servant in charge of the duty of keeping the Statue House cican समार्जनादी नि- समाजन is sweeping, ziata refers to the items mentioned by him in11 अङ्घो indicates anger gter 97 is one word implying censure कार्तवीर्य, king of the Haihayas was the son of कृतवीर्य and ruled Mahismail Having propitiated Dattatreya, he obtained from him sevcial boons, such as a thonsand arms, a gold chariot that went where ever he willed it to go, invincibility by enemics, etc He was a contemporary of Ravana whom he had once confined like a beast in a corner He was killed by Parasurama for carryiog off CE 2 of his city ·NOTES ACT fi! 165 the Kamadhenu of his father Jamadago eta is also known as सहसाईन । 10 Note th- sarcasm in a f19379AF! TARY राज्यविभ्रP and स्वर्ग गतम्य भर्नु दाग्यम्य प्रतिमा० should each form a compound word But the carlier section is left out ia cach case as the connection is easily understood Hence af गमावासमाम । अन्त पुरै -the plural means the inmates of the barem 274274-Note that the potenzial participle used as the verb is always governed by its subject in the instrumental case, and agrees with its object in gender, number and care if is root is transitive, otherwise it remains in the Neuter gender, singular number and nominative case 11 These special arrangements are referred to cven by Bharata while entering the faste 104S infra para shows chai pigeons bad built their nests inside the faith as it was not frequently visited by people 15 The stage-direction età shows the uncasiness of Bharata, as he had heard that his father was unwell Bharata had stayed with his maternal uncle As'vapatt over since his marriage which had taken place along with Rama's 16 21 The first sections of cach of the four lines of this ploka form Bharata's question to the Sūta, and the latter sccuons form the reply of the Sūta Only in the lass line, the Suta's reply 19 just £97 and the rest is Bharata's asking the Súta to drive on the cbariot 27 Compare Sakuntala 18, 9 and Vikramorvasiya 14 The idea of the fourth line ग्नश्चावो त पतति पुरता नानुपतति sm brauufully said in the Sakuntala 18 by Kalidasa (217 hiadcft ist 41 ) 18 सोपस्नेतया-सुस्निग्यतया | The leaves of the trees were glossy indicating that they were watered by mea Heace Bharata says that the city must be closeby cr सोपस्नेहतया धनान्तरस्य अमित पठविधिया मस्तिन्यम् --Abhiseka I tatar mcans al ·166 THE PRATIYA NATAKA - 30 31 Bharata imagining the reception and treatment he 15 going to have in the palace at Ayodhyā Bezuar goes with राना (पनुपापित इवाम।। परिहसिन मिव &c - Bharati refers to the jovial nature of Laksmana in these two lines at & भाषा both go with रिह तितम् । 31 The chariotear refers to the three calamities that had befallen Bharata ala-calamities किं शनुनो मामभिगत ! shows that शगुन was thing in 342121 all along This is in accordance with TAPATTETO gasfiret in 17 कृत्तिकाविषय the duration of the play star which being an 39412 is considered to be inauspicious for every thing But the next star tiduft is auspicious 39 7941 &c shows Bharata s obcdience to the elders 41 Fastf4-ihe 291497 form is irregular 39fari &c Bharala has high regard for the traduional practices Note that he is also keen on obscrving them 45 The special arrangements in the Statue House for the visie of the queens C! 1111 qafur HT 017 occurring on a festive occasion ne faqec-The absence of these signs is because it is not a templo 37€) jan do abow how even in the days of Bbása thc sculptors' art had altained high finish at the hands of skilled workmen 46 Bharata taking for granted that the statues were idols of gods wished to bow down to them As a af79, he was enuiled to worship the deities by repeating mantras either personally or through the Arcal of the temple But there was no Arcak to guide him in the worship Hence Bharata wahed simply to bow down his head without mantras Such A worship 11 offered only by Sudras who are not autborsed to use Mantras for any purpose 1771769 177 ! ***27=daily duties that=raking food (here) 217 ·NOTES- ACT 11 167 49 gfart1. Nore how Ráma, Bharata and even their ancestors look more or less the same in apprarance (cf 1v, VICS) 718 773 The D-vakulika prevents Bharata from saluting the statues as they are not deities and also because bc fears that Bharata with whom he to not acquianted, may be a Brahmin $1 Bharata imagines three seasons as probable for the Devakulika's प्रतिपैध - (१) अस्मामु किञ्चित् बक्तव्यम् ( अलीति ) (2) ANTT sfanta (fa), 31471 () ffratafogat (477) ? Here Agg means some disciplinary rules to be observed 55-57 Nore Bharata's family pride छन्द मृगयता मृत्युना-- Death had to wait till they wished to die, for they were इच्छामरणा 58-73 The names of the statues of Dilipa, Raghu and Aja are mentioned with a reference to their greatness 61 Norc the reverence for Brahmins in those days 6) When the turn of the fourth Statue comes, Bharata is perturbed in mind, for, the order in which the three names were menrioned would only lead 10 she mention of Aja's son's name 10 Dasaratba's next The first brec were dead Then was the fourth also dead? Bharata refuses to allow his mind to entertain any such thought Heace his avoiding to know the name of the fourth statue in 51 and again in 75 This indirectly refers to Kaikeyi's demanding the kingdom promi«cd as her bridal fes Com This Armand form is irregular. 77 must be ! Note that Bhasa's stage directions are many a time inadequrta हग्य भव सकाम &c refers to the suspicion he had already, viz faqayay11777 . शब्द. मा शनि - bccause the bridal fee was to secure king. dom for Bharata, which be knew quite well 3*5714EA for, Bharata sull doubts that it may not be true, as he caonot believe that his mother is 50 greedy of the kiogdom 71-73 ·168 THE PRATIMA NĀTAKA 78 आर्य !-This must be प्रकाशम् as the देवकुकिanswers him The देवकुलिक had seen Bharata swoon on hearing येन प्राणाश्च &c and hence had got a doubt that he must bc Bbarata son of Karkcyı Now he heard his addressing him as 2778 which was characteristic of the Igsvaku rolers Hence hug question failla&c to which Bharala repl eg 8049774- पुत्रो भरसोऽस्मि c Note that Bharata is already dts owning Kaikeyi as his mother, cf III 128 The Devakulika is now afraid of continuing his talk with prince Bharata any longer, hence he wishes to take leave 81 a 01195 dC CF 82 43 with 73 74 16 Ayodhya without Bharata s father and brother is compared to a river without water Bharata compares himself to a thirsty person running towards a waterless river only to be disappo ntcd The simile is very apt 90 Bharata has known his mother's mcatality very well That is why he as capable of correctly describing in st 12 wbat his mother must have said and done +370 – the stipulanon was por justifiable according to Bharata in--haikcyı committed the first sin 10 demanding the T1 That so gave her the courage to commit another 'in asking for Rama', exile 49 &c - J 123 93 373R -kale means by 373737= 'wanting, in need of, water Water required for reviving a man under a swoon " But a strictly means the one (who is dead) who has had no funeral rules performed to him fruft is the libation of water (247) offered to him 96 Sumantra 13 reminded of the way in which a person, irerespecuve of his intimacy with the king had to go to scc the king in the palace, and he contrasts it with the way the same king, now in the form of his statut, is being visited by people ·NOTES- ACT III 169 98 2 1 379 &c-Nore the close resemblance betweca the personalities of Bharata and Das'aratha and also of their voice102 Bharata's question 103374 ANÁTT 92T ? 10 contiguation of 119 101, hence addressed to the Devakulka But the queens themselves anrwer as the Devakulika has left the place already in? It is surprisiog tbat Bharata is unable to recognise Sumantra even on seeing biro at close quarters and that he has to infer that it is he by the 106 ja raffit 208 partido =by the evils of oldage, of zy ") 1972 ingratitude referred to here is Sumantra's not ending his own life even on witnessing the death of his beloved master Dasaratha Note the has in the last line of Suc 111 pagask-Note bow to wisbes to stress the point that be at any rate has not been responsible for Rama's ex fe and that he has not approved of his mother's action Kausalya's words 112garh are not sarcastic, as taken by Bharata saying 155 :71747 Sumira's blessing 11677am Ra a significant, so also is Bharala's 117reply 101. 119-120 Bharata's anger on Kaikeyi is fiery paring ber to a 97 an insignificant rivulet with surbid and Intuie water 15 to draw a contrast betwcca her and the noble and loſty minded Kausalya and Sumurā whom he compares to the holy rivers Ganga and Yamuna Io al 18, Bharata enumerates eight evil effects of Kaikeyi's action 124 RAF-Pole Bhasa is fond of using the word agerar frequently, cf 106 above, v?rv and v" 126 Thc disowning of sons by parents when the soos are of a very bad character is common in the world Bharata says that he is going to establ sh a Dew rule that a mother be disowned by ber son when she proves treacherous to her own husband. 21 113 His com- ·170 THE PRACIMA-NATAKA 129 135 Kaikeyi tries to offer an explanation to her demanding the kingdom for Bharata But seeing Bharata vehemontly finding fault in her action, she quietly tells him 136&Te Frauf and says not a word more În 1)), Bharata points out four important factors that were in favaur of Rama's 19 and in 137, he advances three arguments to show how unwarranted Kaikeyi's demanding the kingdom in his favour was In 199 Bharata refers to Kaikeyi's cruel heartedness Sumantra changes the topic by telling Bharata 140 that Vasistha and Vamadeva arc walung lo ipstall him as king 1Compare this with अगोपाला यथा गावस्तथा राष्ट्रमगजकम् । -Ramayana II lxvii 29 144 ffa i galanan.. shows Bharata's contempt for the greed of his mother ACT IV (The Praves'aka at the commencement of this Act refers only to what has happened towards the conclusion of the previous Act and grics us no extra information It 13 introduced here just to allow some time for the accors 10 prepare for the coming scene, for, Sumantra and Bharata have to appear in a chariot on their way to Rama's penance grove ] ·NOTESS-ACT IV 171 12 18 75 26 33 4effectively puts forth the characteristic traits inherited by Bharata from his forc-latbers and elder brother Rama RE1977 can qualify all the three Rama, sira and Laksmana मत्यम् , शीलम् and भक्ति in bodily form are present in those three persons respectively 71542UR-Bharata is unable to dissociate himself from his mother 98 YT1A-Note the syntactical irregularity, cf 1121, 123 & 11199 279 Fatra catalana Bharata has already disowned as a mother and hence speaks of ber दोष 5 परदाप 29 Bharata feels that he himself has committed the blunders of his mother, as his name was used by ber 30 Bharata characterises himself as ago &c, but emphasise that in spite of all that be is offer are towards Rama कय तिष्ठतु occurs also in Paſica 11 58 FRITET emphasisçs the FITATE between Bharata and Das'araiha, cf 1 102 33 36 Rama casily infers that the voice must be of a relative, as it has been pleasing to the In" Laksmana describes Bharata s dignificd voice ant niat may mean the four varnas T, 29, and also the four kinds of speech namely, TTTF FraFEUT, पश्य की नाभिसथिता । दृदिया मध्यमा जेया वैग्वरी कण्ठदेशगा। 39 The clase similarity of form between Rama and Bharata confounds even Lakşmana here, and also Sita in 165 40 The personally of Bharata u beautifully described in this stanza va hug and Laksmana's blessing Bbarala in *4 show that Laks pana is older than Bharata according to Bhasa In the Ramayana also certain lines indicate that Bharaia was younger than Laksmaga CF - इति लेक्ममार पादेवध प्रमार यन् । रामम्य निपतिष्यामि सीताया लक्ष्मणास्य वा || Ilxc 17 ear वैश्य and शूद्र 43 ·170 TAE PRATIMA-NATAKA 129-135 Kaikeyi tries to offer an explanation to her demanding the kingdom for Bharata But seeing Bharata vehemently finding fault in her action, she quietly tells bım 116207 Pagulfo and says not a word morc In 139, Bharata points out four important factors that were in favaur of Rama's 14476 and in 137, he advances three arguments to show how unwarranted Kaikeyi's demanding the kingdom in his favour way In 139 Bharata refers to Kaikeyi's cruel heartedness Sumantra changes the topic by telling Bharata 140 that Vasistha and Vamadeva are waiting to install him as king 141 Compare thrs with अगोपाला यथा गावस्तथा राष्ट्रमगजकम् । -Ramayana II lxvnt 29 144 afffa ! faH.. shows Bharata's contempt for the greed of his mother -- ACT IV (The Praves'aka at the commencement of this Act refers only to what has happened towards the conclusion of the previous Act and gives us no extra information IC 15 introduced here just to allow some uime for the actors 10 prepare for the coming scene, for, Sumantra and Bharata bave to appear in a chariot on their way to Rama's penance grove 13T1 us the name of the portress appearing also o स्वम, प्रतिज्ञा and अभिषेक | कि भणितम् would be belter ift were far as in' SITE 14 has occurred once before in " UFT417--the belte 19 that the dead go to the next world followed only by the good and bad deeds done by them here HI701-holy, beautiful, c 317 75184 with रामाभिधान मेदिन्या शाइममिपिदना' 20 10 ·NOTLIV-ACT IV 171 18 25 20 33 943 effectively puts forth the characteristic traits inherited by Bharata from his fore fathers and elder brother Racoa A6195T can qualify all the three Rama, Sita and Laksmaga 27, wie and HF in bodily form are present in those three persons respectively T154359197 Bharata is unable to dissociate himself from his mother 2733 24-Note the syntactical irregularly, d 1121, 12 & 1199 277 914 9799AA2704 Bharata has already disowned it as a mother and heace speaks of her an as 97917 29 Bharata feels that he himself has committed the blunders of his moiber, as bus name was used by her 30 Bharata characterises himself as agt &c, but emphasise that in spite of all that he is gfifint towards Rama Fu fazi occurs also in Pañca 11 58 कम्यासा emphasises the FTATE54 between Bharata and Das'aratha, cf 11 207 33 36 Rama castly in fers that the voice must be of a relative, as it has been pleasing to the In35 Laksmana describes Bharala s dignified voice चतुर्गा वर्गानt may mean the four varnas ब्रह्मा, क्षत्र, वैश्य and शूद्र and also the four kinds of speech namely, परा वाक् मूलचनस्या, पदय ती नाभिसस्थिता । हादिया मध्यमा ज्ञेया वैगरी कण्ठदेशगा। 39 The close similarity of form between Rama and Bharala confounds even Laksmaqa here aod also Slta la vos 40 The personality of Bharaia is beautifully described in this stanza ( Tag and Laksmana's blessing Bharata in 44 show that Laksmana is older than Bharata according to Bhāsa la thc Ramayana also certain I nes indicate that Bharata was younger than Laksmana Cr- इति लाममाषष्ट पादेवध प्रमादयन् । रामस्य निपातम्यामि सीताया रक्ष्मणस्य वा || II zc 17 ear ·172 THE PRATIMA NATARA 46 bimin ततो लक्ष्मणमासाद्य वैदेहीं च परन्तप । अभिवाद्य तत प्रीतो भरतो नाम चाब्रवीत् ॥ VI cxxx 40 प्रकाशस्य तव पितु द्वितीय -here द्वितीय in the rense of a son' The geneology 15 traced to stress that Bharata is worthy of every one of his fore fathers and his elder brother Rama 48 The blessing Conferred on Hla by eat here is full of meaning He wishes that Bharata should become famous like Raghu who gave away everything in his Via vajit sacri ficc, indirectly suggesting to Bharata that he too should give away cverything of his in a worthy manner 50 Laksmana is not prepared to take Bharata to Rama without the latter s permission, in spite of the formers cagerness to see him carly, cf 61 infra 6*Rama accords to Bharata the best reception possible by sending Sita to bring Bharata casily recognises Sita and feels bighly honoured by her coming to take him to Rama 10 म्वरयोगाऽपि स एप-cf m 102 75 Note that Rama has already known that Dasaratha is dead In 82 Rama clearly refers to u ** This is repeated in VII 50. SAC is used as a noun to mean unbearablc calamity' In a Long life is considered a benefit but with 997 it has been a curse as it made him witness the four calamities mentioned in the first line This statement makes Rama simply shed tears noticing which Sita observes, -of course suppressiog her own feelings, कर तमायपुत्र On hearing this remark of Sità, Rama recovers immediately saying " मैथिलि, एष पयवस्थापयामि .c and asks लक्ष्मण to fetch water for performing 1792 | Bharata docs not allow FAT to go, for he, being $901 younger brother, has every right to serve part also Hence his words 87 *71 Turq, 1 The short but opeo talk between Rama and Sità relatog 10 ·Note that Bhasa, by using at the beginning of a 91 10105 173 NOTES-ACT IV Bharata's claims to serve, wherein Sita heralds the cause of Bharata, is pleasant But Rama's decisive words 90 gara H1 Ha 34747 disappolars Bharata wbo pleads in all carnestness for staying with Rama Then the latter reminds him of the great name of their family and tells bim in" that he should be worthy of his heritage Bharata finds no furthur argument and simply pauses Just then, Sumantra asks अभिषेको क तितु ? and Rama replies 6यत्र में मानामिहिन 997, hearing wbich Bharata, with wounded feelings, once again says appealingly 970718, PATIAT TU WEDą and in Pasks him to view bim on his own merits and not depreciate bım on account of his mother's fautus Bharata 15 mistaken that Rama x also displeased with Kaikeyi, like himself for her all thought deeds Rama would have probably set aside hu mistaken notion but Sutā's words recommending the case of Bharata __११ अतिकरण मयते भरत come in the way and make Rama cxpress how much he himself is pleased with Bharata for his sincere devotion to him His statement 101 af 7919 forms a memorable s'loka In O Rama tells Bharata directly how much he is pleased with him and yet is unable to allow him to stay in the forest, as it would mean making their father a lier (feafa-2141) When Bharata continues to persist even on hearing these words of bus, Rama conjures biro op his lile in casc he should refuse to govern the kingdom indifferent to grammalleal rules Bharata now obserres ·174 THE PRATIMA NATAKA seriousness In 116 95 Hence he asks Laksmana, Sıta and Sumantra to remain witnesses to it Rama is glad to note the sincerity of Bharata, and when he says that he needs another boon from him (in 112 ), Rama is ready to grant anything to him and asks him 113 arh, 73 2 In 114, Bharata prays for the grant of Rama', saodals (915), so that he may govern the kingdom as their representative after installing them on the throne Rama is pleasantly surprised to hear that and observes that Bharata 13 amassing 10 a day all the glory he himself could carn so laboriously in all his lifetime the subject of the 2nd line, 467 79 11 to be supplied In 117, Sua, in her own winning manner, persuades Rama to grant Bharata his first reques! When the sandals are granted, Bharata say: 119 'अन अभिषेकोदकम् आवजयितुमिच्छामि, so that Sumantra might definitely know the reply to his carlier question अडानीमभिषेकोदक व तिष्ठतु १v Rama too directs Sumantra to do so Bharata now feels that a heavy burden 15 removed from him and says to himself in great satis. faction123 24 ec 19 stanza 27 124 Rama reminds Bharata of the key to the success and prosperity of any kingdom and asks him to relurn to Ayodhya Sita, with her motherly affection for Bharata, 15 disappointed at this and expresses to Rāma in her own suggestive way, her wish to retain Bharata with them in the forest for some days at least But Ráma is firm when he says 12637 araign etc Bharata is already mindful of his responability and 1 eager to return and cheer up his subjects 136-131 Rama's suggestion to Sumantra महाराजवन् परिपान्यता कुमार and Surnantra's reply यदि जीयामि तावत् प्रयतिध्ये are very touching Here af is in the sense of 41TT1 134 Rāma's following Bharata and Sumintra up to the skirts of the hermitage is in accordance with the planer prescribed for giving a send off to distinguished persons or Telatnica ·NOTES—ACT V 175 ACT V [This Act deals with the abduction of Sita by Ravaga Bhasa has deviated from the Ramayana in the matter of the details srlating to the abduction, mainly to improve the character of Sita The Act opens with Sita cheerfully attending to her daily duues ] 1 AP 1717-worship of the deities Ci tbe use of PUSTIT 10 11124, v25 and vit * Hare Rama reflects on the heavy burden of goverping the kingdom that Bharata is bearing all alone इंदृशशोक on, refers to the worty relaciog to the performance of his father's yra that Rama has in his toind Rama wishes to talk over that matter with Sita, his agenzftaft so use his own phrascology * Rama beautifully deseribes the water freshly poured into the basins of trees pergie, in the basio of the trees fy ar=muddy water 797f9a) etc -as the water is slowly absorbed by the carth, circular lines are made in the muddy basia, marking the different water levels at different slages Seeing Sita carrying the heavy water pot, Ramoa reflects (in sl 3) on the hardships she, a born Princess, bas to bear in the forest प्रतिवचनार्थिनीमिव Note the ability of Rama to read the mind of others Cr व किमपि वक्तुकामव !" of Sta and the Dext line here 13 YTTET 19 Rama says that he has been very unlucky in various matters and that he has received a fresh blow now, meaning the inability to perform the # of bis owo father in a fitting manner para misfortune, all fuck Noie Sita's witę suggestion to Rama But Rama's words 21 67717 2721, show the depth of bus love for bis father 19 ·177 TOTES-ACT V 47 he reference bere must be to Nyayas'astra of Gautama There is another Medhatithi who is the commentator of Manu But he is not connected with the Nyayas'astra प्रचेतसा प्रणीन-पाचेतसम् । श्रद्धया दत्त y the derivative meaning of श्राद्धम् । 49 विरूढेषु-विरूढ arc plants growing without branches, belonging to the grass-kind आषधीषु-ओष पाक धीयते अभ्याम् इति ओपधि | Cf ओषध्य फलाकान्ला । खद्गो वा-here वा is to include something not mentioned Accordingly Rama's words या शब्देन . | Cf च शब्देन मावशेषमिव ते वचनम् - Abbiscka 111112 33 Note Rama s confidence in his own ability 56-57 Note how Bhasa introduces the topic of the golden deer वैमानम and वालखिल्यs are sages said to have been born of the nails and harrs of प्रजापति (ब्रह्मन्)। Cf 'ये नग्वास्ते वैवानसा à apped arferal 1' Afaiz arc sages dwelling in the Naimisa forest fara - the deer go to the sages and dic of their own accord 57 shows why they are so much liked by the Patrs 371977the grad form of Toy with 371 is irregular - even according to Baņa the dandakavana in which Rima lived forded a part of the Vindhya forest Mark the affection that had developed between Sita and the 59 विन्ध्य वन deer etc 61 Ravana 15 disappointed to see that Rama 15 trying to move away with his wife to the Himalayas To prevent that, Ravana says a à agh 7-8! But Rama is confi dent of his own powers, hence his words tifania in65 Intolc. tant of that, kávada styles 14 as 66347d To retain Sita there, he produces by his maya a deer with gold sides to appear there illuminating the whole place Ravana invites 22 ·178 TÅE PRATIMA NATAKA 68Rama's aliention towards that is deer and saya that Himavan is honouring him by sending the deer volun: lanly to him Rama is delighted and observes that it is due to the 37777 of his father 1072 He wishes to send Laksmana to accord a suitable reception to the animal Sita reminds kım (1a "} thar Laksraaga has been already sent by him to receive thc Kulapanı So Rama personally goes with aged andi 077 to receive the #777777FI He leaves Suta bebind 10 attend to the ascetic guest 79 Mark the true heroic quality of Ravaga wah which ) he admires the बल, वीर्य, सत्व and जव of Rama 1 Shows Sita's womanly timidity when alone *2 Tbc offerings made to fire without ultering mantras are generally snatched away by demons Hence the com pariston अमन्त्रोक्ताम् 87 Ravana boasts of hu previous achievements and tells Sita the object of his coming there. 92 Ravara describes his own qi#A and shows how the carth i$ 7.21 94 With this st 18, cr Abhiseka III 16 96 In at 19 Ravaņa openly suggests to Sita that she should marry hum Hearing that Sota says 91279ste in utter disgust Obviously she is not flinging any curse on him Hence, jestingly Ravapa says "El at afdanigrama and arcats it in a very light manner His statement 99 योहम् Jeafaat (sl 20) > also ironical A similar occasion »s found xa the Abhiscka 1132 34 102 Ravana's challenge to Rama is well worded here 104 The last four lines of the Act suggest to the audience that Jatayu is going to attack Ravana for rescuing Sita ·179 TES-ACT VI ACT VI [This Act has a Viskambhaka at its commencement It quaints the audience with the details of the fight between tayu and Ravaņa, through a conversation between two ed ascelics who are made to describe graphically the fight bis interlude again is not quite essential as the fight bas ready been hinted to at the cod of the Fifth Act The only urpose it serves bere is that it gives the actors some time change the scene on the stage, from the Paſcavel to the alace in Ayodhya ] In st 1, the first three lines describe Ravana's personal Ppearance St 2 describes the pitiable state of Sita as she being carried away by Ravana St 3 gives a vivid account Jajāyu', altack on Ravana and st 4 describes Jatayu when le falls down to the carth, with his wings felled down by be demon The comparison of the falling down of Jatayu o that of a big forest tree when pulled down by a lordly :lephant is api कह काञ्चनतोरणद्वारम् occurs also in Svapna Vir and Abhiscka III ? 23 Vijaya is the female door-keeper appearing in several of the plays of Bhasa She is here asked by the Chamberlain to inford Bharata ibat Sumantra bas returned from the forest 27 He also tells Vijaya, that Sumantra looks grief stricken चीरवन्तरवसन - Bharata was wearing bark dress and bad marted his hair since bis return from Citrakūta St 6 gives a grand description of Bharata 4) Sumantra enumerates threc calamities witnessed by Chim - (?) 16A97 (1 zafaga-447 and (1) Argetima and says that his long life has been a cure on bim The line गुण इव has been occ befort said by Sumantra in IV 18 22 H ·12.7o*Ting Bharata means to go to his mother to chide het 11 Ank 180 THE PRATIWA-NITAT 46 Mark the way Bharata characterises Rama Laksmana His question addressed to Sumantra is taken note of by the latter in his absent mindedness o to his inward grief on Sita's abduction 50 Bharata al ft thinks that it is duc to the fatigue of the long journey, soon feels that he might have returned without v11111! Rama Hence his question aft AITITE 1 S1 Sumad! suggests that such a thing is out of question for two reaso -(१) त्वनियोग and (२) रामदर्शनार्थ प्रस्थित । 33 Shows thar Sumantra was aware of Rama stay Paficavati and that he went there to find his hermita deserted Note in the subsequent lines how gradualy 11 subject of Sura's abduction by Ravana is introduced I 67 Bharata recounts the different calamities that h. befallen Rams one after another Being of mande intcntion Sumantra (in 69) simply to follow him 1 न पलुन for, Sumanıra did not know Bharata's 76 Mark how he refers to his mother 11 Even Vijayt observes his anger and wonders what the matter might be Faia Bharata's visiung Kaikeyi, generally meant that he was guing 10 tauni her and accuse her o somcthu g or other 3077 = something that turns up un expectedly * Mark how gontly Kaikeyi speaks to Bharata reply Ha qe fai though sarcastic u not taken in iba renr by Kaikey Hence, being full of sterly lose fa Kausalya and SumilTA, obe wishes (1090) tu geu them als to listen to the good news But Bharru's -13 11:57 1872 opens **TRETI at the end of the 'loka 1 poignant reł ule on Kabeyi The 2nd hall of ! 14 another rebuke on her Nox Kaikeyi finds the in her eyes ·TAE PRATI NAȚAKAK 82 21 17 Rama's recent achievements Note his characterising Sita as नगति गुणसमग्राम् । मुनिजनवनवासे-The forest residence of the sages, ie the Janasthāna Tarla Tagli can refe to the words of his parents, or of the sages कुटुम्यिक =husband 23 27 Rama recalls to Sita the different spots in thi Jagasthana tbey were associated with 26 Shows that Bbarata had paid a visit to Rama ali at the Janasthana 28 मा खलु मा खल्वेव भणितुम्-the use of the infinitive with AT 18 irregular Sitg shudders when ibc 11 reminded of the Kaſcanapars'va deer 31 32 Laksmana brings news that Bharata, a TAAR has come with the queen mothers and a vast army Mark Lakşmana 15 not suspicious of Bhasala as in the Ramayana when he gocs to meet Rama in the Citrakula 38 at different f7a-adveric afara of great 50 This is the same as IV 16 35 Mark Bharata's first words to Rima to take back bis kingdom Rama asks 566pynap! 10 know Kaikeyi's mind 17 चिरामिलपित of Kaikeyi sbows how she 100 wa anxious that Rama should become king H » Sarrugbna appears for the first time here observation alreguage about Rama is quite appealing 68 9 Mark tha! Rama goes to undergo affu7F, on when Kaikeyi persuades him to do so 79 The preliminary 249 takes place in the Jar athina ** 12 It is conspicuous that, while Kaikeyi and Sumi capress their joy upon his atlyuk, hausalya is absent fr the scene This scene 18 similar to the one in the Abhise nitaks wherein Rāna is consecrated on tbe gca sh Rhwa mecting Dig there alone concern

·NOTES-ACT VIL
183
* Răma's words aristo. (sl 11) show his attitude
towards Dasaratha
79-80 SI 12 and 13 reveal the delight of Bharata and
Satrughna But as Laksmaņa remains silent, Rāma tells
him 'अघिगतराज्योऽहमसि ।
86 Kaikeyi's desire to see Jarf again in Ayodhyá
noteworthy.
88-39 The comparison of Rāma to the moon and of
is company to the numerous stars, all rising up in the sky,
grand.
97891F4 is the valediction to conclude a play. It
oes not refer to tbc name of the king 1o Bbasa's plays.
31 Qara #7: occurs as flag: in his other plays
90
VIDYA
ATIYA
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