Book I : Bala Kanda - Book Of Youthful Majesties
Valmiki composed twenty four thousand verses and taught them to Lava and Kusha, the sons of Rama and Seetha. The two youngsters sing the ballad among the assemblages of sages and saints, and win laurels. Rama on seeing the boys singing on the streets and king's ways of Ayodhya, brings them to his palace, and summons all his brothers and ministers to listen to the ballad. Rama himself is put to the turmoil, for the ballad sung by these youngsters narrates the legend of Seetha. But he himself collecting his calm, Rama paid his attention to listen the 'Legend of Seetha' sithaayaH charitam mahaan as Valmiki calls Ramayana.
praapta raajyasya raamasya vaalmiikir bhagavaan R^ishhiH |
chakaara charitam kR^it.hsnam vichitra padam arthavat || 1-4-1
1. bhagavaan R^iSiH= godly, saint, Valmiki; praapta raajasya raamsya= on retrieval, of kingdom, by Rama; vichitra padam= admirably, worded; kR^itsnam= in entirety; charitam= legend; arthavat = meaningfully; chakaara= composed.
The godly saint Valmiki composed Ramayana on Rama's retrieving kingdom, wording admirably and meaningfully. [1-4-1]
chatur.hvi.mshat sahasraaNi shlokaanaam uktavaan R^iSiH |
tathaa sarga shataan pa.ncha shhaT kaaNDaani tathaa uttaram ||1-4-2
2. R^iSiH= sage Valmiki; slokaanaam= verses; chatur vimsat sahasraaNi= twenty-four, thousand; tathaa= that way; pancha sarga shataan= five, chapters, hundreds; SaT kaaNDaani cha = six, books, also; tatha uttaram= that way, an end piece; uktvaan= said.
Sage Valmiki said Ramayana in twenty four thousand verses, in six hundred chapters, in six books, likewise an end-piece too. [1-4-2]
The twenty-four are the letters in Gayatri hymn. Ramayana's scheming is based on Gayatri hymn and for this: atra catur viÕþati saðkhyo ukty˜ catur viÕþati akÿara g˜yatrŸ tulyat˜ s¨citam | prathama adhy˜ye - tapa× sv˜dhy˜ya - ityatra prathamam ta k˜rasya - sargapr˜nte - iti etasmin padye - mahatva mŸy˜t -- ityatra y˜t - iti akÿarasya grahaõ˜t api gayatrŸ r¨patvam s¨citam - dharm˜k¨tam
There is a controversy about the number of verses and cantos. If Uttara Ramayana, otherwise called abhudaya kaanDa , is ascribed to Valmiki, the cantos are seven and chapters are about 649 and verses are about 24,253. But some verses and chapters are deleted for standardization of Ramayana as per this verse and they contain 560 chapters and 24,00 verses only. Some argue that when it is said 24, 000 verses are there, it does not actually a mathematical assertion, like the calculation of mahaa yuga -s and manvantara -s, and as one would give a reply to his age as 30 years, or 60 years, but not as 29 years, 6 months, seven days or so... In furthering that standardization affair, some said that even this canto, Bala kaanda is not authored by Valmiki. It is not clear as of now when the pundits can decide as to which is standard and which is not.
The transcendental aspect of Ramayana and its content is explained in 18 terms by ancient commentator Govindaraja. 1] Rama's Absoluteness, paramaatma tattva ; 2] Ideation to know Him, upaaya ; 3] Dedication in Him, kainkarya ; 4] Human aspect, puruSaakaara ; 5] Diviner, adhikaara ; 6] Resolve in God, adhikaara paaratantrya ; 7] God's resolve in Dedicate, bhagavat paaratantrya ; 8] Knowledge of five Meanings, artha pancaka j~naana ; 9] Self-denial, akincinatvam ; 10] Teacher selecting, aacaarya varaNam ; 11] Climax, autkaNThata ; 12] Behaviour, pravartana ; 13] Residence, vaasa sthaana ; 14] Two Narayana hymns, naaraayaNa mantra dvaya ; 15] Gayatri, Gayatri hymn; 16] Negating negative-thinking, durvicaara parihaara ; 17] negating Love for Living, samsaara jihaasa ; 18] 64 Divinely Arts, catuSaSTi kalamayatva . Of them we take up the15thGayatri.
The identification of Gayatri with Ramayana scheme is explained in many ways. By tat savitR^i the features and attributes of the Absolute as per narrations in Bala Kanda. vareNya by the narration of Absolute's attributes in Ayodhya and Kishkindha kaanda-s, and adherents like Lakshmana, Bharata, Sugreeva take shelter in Him here only. bharga is identified as per the description of resplendence of The Divine as envisaged by the sages and hermits in Aranya Kanda. devasya and in dhiimahi where that deva the Divine is explained by Hanuma, not only to Seetha but to all in Sundara kanda. hi dhii mahi is as explained in Uttara Kanda, which centers around moksha salvation.
kR^itvaa tu tan mahaapraaj~naH sa bhaviShyam saha uttaram |
chintayaamaasa konvetat prayu.njiiyaad iti prabhuH ||1-4-3
3. maha praaj~naH prabhuH= great, scholar, godly-saint Valmiki; sa bhavishyam saha uttaram= with, leading, with, sequel; tat= that, Ramayana; kR^itvaa tu= having composed, but; kaH= who; nu= really; etat= all this; pra yu~njiiyaat iti= well, render, thus; chintayaamasa= thought over.
Though that great scholar composed thus with leading and sequel legends, that godly saint thought over thus 'really, who will render all this ballad...' [1-4-3]
tasya chintayaamaanasya maharshher bhaavitaatmanaH |
agR^ihNiitaam tataH paadau muni veShau kushii lavau || 1-4-4
4. tataH= then; muni veshau kushii lavau= in hermits, attire, Kusha, Lava; chintayaamasnasya= thoughtful one; bhavitaH atmanaH= contemplating soul; tasya maharsheH= his, of the Sage's; paadau agR^ihniitaam= feet taken [touched.]
Then Lava and Kusha who are in the attire of hermits have touched the feet of that contemplative soul Valmiki, who is now thoughtful. [1-4-4]
kushii lavau tu dharmaj~nau raaja putrau yashashvinau |
bhraatarau svara sa.mpannau dadarsha aashrama vaasinau || 1-4-5
5. kushii lavau tu = Kusha, Lava, but; dharmaj~nau= virtue-knowers raaja putrau= princes; yashasvinau= glorious ones; svara sampannau= with melodious voice, endowed with; bhratrau= brothers; aashrama vaasinau= [the same] hermitage, residents of; [Valmiki] dadarsha= seen;
Glorious Kusha and Lava are the virtue knowing princes, and they are endowed with melodious voice, besides being the residents of the same hermitage, thus Valmiki saw them saluting at his feet. [1-4-5]
sa tu medhaavinau dR^ishhTvaa vedeshhu parinishhTitau |
vedopabR^i.mhaNaarthaaya tau agraahayata prabhuH || 1-4-6
6. prabhuH= self-reliant sage; saH= he, Valmiki; medhavinau= intellectual pair; vedeshu pariniSTitau = in Vedas, proficient; dR^iSTvaa= having seen; veda upa bR^imhaNa arthaya [ kathitam kaavyam]= to Veda-s, as ancillary, reinforcement, aiming at [rendered, epic]; tau a+ graahayata = them two, made to receive [epic to memorise].
On seeing that pair intellectuals who are proficient in Veda-s that self-reliant sage Valmiki made those two to memorize the epic, as the epic Ramayana is composed only to reinforce the import of Veda-s, as an ancillary. [1-4-6]
kaavyam raamaayaNam kR^itsnam siitaayaaH charitam mahat |
paulastya vadham iti evam chakaara charita vrataH || 1-4-7
7. charitra vrata= sage who observed all sacred vows; kR^itsnam kaavyam= to entire, epic; raamaayaNam= Ramayana; siithayaH charitam mahat= Seetha's, legend, sublime; poulastya vadham= Ravana's, elimination; iti= thus [naming]; evam cakaara= that way, made, rendered.
That sage with observed sacred vows has rendered the entire epic in the name of 'Ramayana', 'Sublime Legend of Seetha' and 'elimination of Ravana'. [1-4-7]
Seetha's conduct is the primary aspect and Ravana's elimination is secondary in the epic of Ramayana. poulasthya vadha . Giving one to many names to poem/epics is usual as in maagha kaavya' which is known as shishupaala vadha whereas it is actually kR^ishNa carita .
paaThye geye cha mathuram pramaaNaiH tribhir anvitam |
jaatibhiH saptabhiH yuktam tan.htrii laya samanvitam ||1-4-8
8. paaThye geye madhuram= to read, to sing, melodious; pramaaNaiH tri bhiH anvitam= scales, in three, kinds, adaptable; jaatibhiH saptabhiH baddham= classification, sevenfold, orchestral; tantrii laya samanvitam= string-instrument, rhythm, included.
To read or to sing it is melodious, adaptable to music with three scales and sevenfold tune, and orchestral to the tunes of string-instrument and rhythm included... [1-4-8]
The three Indian scale pauses are dR^ita, madhyama, vilambita . These though not equal but identical to Breve, Minim and Quaver of Western classical music. The seven fold classifications of swara-s are 1] shadja  madhyama  gaandhara  niSaada  R^iSabha  dhaitava  pa~nchama . These are roughly identical to Accelerando, Calando, Decresando, Smorzando, Sostentuo, and others of Western classical music.
rasaiH shR^i.ngaara karuNa haasya raudra bhayaanakaiH |
viraadibhii rasair yuktam kaavyam etat agaayataam ||1-4-9
9. rasaiH sR^ingara karuNa haasya raudra bhayaanakaiH= aesthetics, romance, pathos, comic, fury, fright, and others; viira aadibH rasaiH yuktam = valour et cetera, aesthetics, embodying; kaavyam a gaayataam= epic, is sung.
Aesthetics like romance, pathos, comic, fury, fright, valour etc., embodying the epic is sung [by Kusha, Lava.] [1-4-9]
The Indian categorization of aesthetics rasaa -s is in nine emotions. sR^ingaa [romance] haasa , [humour] shoka , [grief] krodha , [fury] utsaaha , [enthusiasm, bravery] bhaya , [fright] jugupsa , [disgust] vismaya [amaze.] Again sR^ingaara is of two kinds - a] sambhoga , [being with his/her partner,] b] vipralamba [not being with his/her partner.]
Rama's togetherness with Seetha from Bala Kanda till her abduction is the first category of romance. After her departure and until regain, it is second sort of romantic narration. Episodes of Surpanakha, Trijata are humorous. Those of Dasharatha, Jatayu etc., are of grievous nature. Killing, torturing etc., situations arouse furiousness. Lakshmana, Indrjit and others are showing bravery. Seeing ugly demons either in forests or those that surround Seetha is causing fright. The very sight of ugly bodied demons like Viradha, Kabandha is creating disgust. Hanuma's leaping ocean, burning Lanka, and the entire Rama-Ravana war are amazing.
tau tu gaandharva tattvaj~nau sthaana muurcChana kovidau |
bhraatarau svara sa.npannau gandharvaaH iva ruupiNau || 1-4-10
10. tau tu gaandharva tatvaj~nau= they are, musical art, conversant with; sthaana muurchana kovidau = pause, pitch of voice, proficient in; bhraatarau svara sampannou= two brothers, voice, wealthy; gandharva iva ruupiNau= celestial singers, like, in appearance.
They are conversant with the art of music and proficient with the pitch and pausing their voices, and those two brothers have not only a wealthy voice, but they also look like celestial singers. [1-4-10]
The gandharva-s are celestial beings with adorable personalities and performers of all kinds of performing arts. Hence, Indian musical art is termed as gaandhava vidya .
ruupa lakshaNa sa.npannau madhura svara bhaashhiNau |
bi.mbaat iva uthiitau bi.mbau raama dehaat tathaa aparau || 1-4-11
11. ruupa lakshaNa sampannau=in appearance, charm, privileged with; madhura svara bhashaNau= melodiously, voiced, in voicing; bimbaat iva uthiitau bimbau= [from original] reflection, like, issued forth, reflections; raama dehaat= from Rama's, body; tatha aparau = like that, separately.
They have charm in their appearance and melodiousness in their voice, they are like the two reflections of one original object, and thus they came out from the body of Rama, separately. [1-4-11]
Vishnu's reflection is Rama, and Kusha, Lava are two reflections of Rama, and thus, in turn, these two princes are adorable like Vishnu, as in bimba-pratibimba nyaaya , image-reflection syndrome.
tau raaja putrau kaartsnyena dharmyam aakhyaanam uttamam |
vaacho vidheyam tat sarvam kR^itvaa kaavyam aninditau || 1-4-12
12. tau raja putrau kaartsnyena= they, king's, sons [princes,] in entirety; dharmyam aakhyanam uttamam = virtue expounding, epic, best; vaachaH vidheyam tat sarvam= by voice, preserved [memorized,] all that; kR^itva kaavyam a+ninditau= doing so, epic, without, fault.
They the princes have memorized that virtue-expounding epic, the best; in its entirety and in doing so, they rendered that epic faultlessly. [1-4-12]
R^ishhiiNaam cha dvijaatiinaam saadhuunaam cha samaagame |
yathA upadesham tattvaj~nau jagatuH tau samaahitau || 1-4-13
13. R^iSiiNaam cha dvijaatiinam= of sages, also, of scholars; saadhunam cha samaagame= of eminent persons, also, assemblages; yatha upadesham tatvaj~nau= as schooled, those two that are well aware of; jagatuH= sung; su samahitau= with best, concentration.
They sung the epic as schooled, well aware of its content and intent, among the assemblages of sages, scholars and also of eminent persons, with their best concentration [1-4-13]
mahaatmanau mahaabhaagau sarva lakshNa lakshitau |
tau kadaachit sametaanaam R^ishhiiNaam bhavita aatmanaam || 1-4-14
madhye sabham samiipasthau idam kaavyam agaayataam |
14-15a. maha aatmanau= those two great-souls; maha bhagau= highly endowed [with musical talent]; sarva lakshaNa lakshitau= all, features, possessing; tau kadachit = those two, once; sametaanaam R^iSiiNam= at a gathering, of sages; bhavita aatmaanaam= of pious, souls; madhye sabham samiipasthau= midst of, assemblage, nearby standing; idam kaavyam agayataam= this, epic, sung.
Once those two great-souls who endowed with musical talent and with all remarkable features, sung this epic, standing nearby the midst of a gathering of sages and pious souls. [1-4-14-15a]
tat shrutvaa munayaH sarve baashhpa paryaakulekshaNaaH ||
saadhu saadhviti taa uuchuH param vismayam aagataaH |
15b-16a. sarve munayaH= all, sages; tat shrutvaa= that, on hearing; param vismayam aagataaH = great, surprise, coming on; baaSpa paryaakula iikshaNaaH= with tears, overspread, eye-sight; saadhu saadhu iti taa uuchuH= splendid, splendid, thus, they, said [appreciated].
On hearing that, the eyes of all the sages were overspread with tears of happiness, and they appreciated saying, 'splendid, splendid is this...' [1-4-15b-16a]
te priita manasaH sarve munayo dharma vatsalaaH || 1-4-16
prashasha.nsuH prashastavyau gaayamaanau kushii lavau |
16b-17a. sarve munayaH= they, all, the saints; dharma vatsalaaH= saints, virtue, patrons of; te priita manasH= they, pleased, at heart; prashtavyau= praise worthy ones; gaayamaanau kushii lavau= while singing, Kusha and Lava; prasasamsuH= praised.
All those saints being the saint-patrons of virtue are pleased at heart, and praised the praiseworthy Kusha and Lava, while they are singing. [1-4-16b-17a]
aho giitasya maadhuryam shlokaanaam cha visheshhataH ||
chiranirvR^ittam api etat pratyaksham iva darshitam |
17b-18a. aha giitasya maadhuryam= aha, ballad's, melody [is superb]; visheSataH cha slokaanam = especially, also, of verses; etat chira nirvR^ittam api= all this, long-ago, happened, though; pratyaksham iva darshitam= presently [happening one], like, shown.
"The melody of the ballad, especially the meaning of verses, aha! Superb... though this has happened long-ago it is shown like the one happening presently... [1-4-17b-18a]
pravishya taa ubhau suSThu tathaa bhaavam agaayataam ||
sahitau madhuram raktam sa.npannam svara sa.mpadaa |
18b-19a. tau ubhau= those two; sahitau= in oneness [of musical notes]; suSThu pravishya= very well, on entering [into the mood of epic]; madhuram= melodiously; raktam= rapturously; svara sampada sampannam = saDjaadi svara sampadaa= maintaining pitch and tune; bhaavam agaayataam= its import, sang.
"On getting into the mood of the epic, those two sang its import in one tune, that too melodiously and rapturously, marinating the pitch and tune..." So said the saints. [1-4-18b-19a]
evam prashasyamaanau tau tapaH shlaaghyaiH maharSibhiH ||
sa.nraktataram atyartham madhuram tau agaayataam |
19b-20a. tapaH slaaghaiH maharSibhiH= by asceticism, blessed, great saints; evam prashashyamaanau = that way, being appreciated; tau= those two; sam raktataram= very effectually; ati artham= very, meaningfully; madhuram= melodiously; agaayataam= sang.
While the great saints of blessed ascesis are appreciating that way, those two melodiously sang very effectually and very meaningfully. [1-4-19b-20a]
priitaH kashchin muniH taabhyaam sa.nsthitaH kalasham dadau
prasanno valkalam kashchid dadau taabhyaam mahaayashaaH |
20b-21a. kaschit muniH= someone, a saint; priitaH= pleased; samsthitaH= on getting up; taabhyaam = to them; kalasam dadau= a handy vessel, bestowed; maha yashaaH kaschit= verily reputed saint, someone; prasannaH= lauding; valkalam dadau= jute robe, contributed.
And someone, a pleased saint, got up and bestowed a handy vessel to them... another reputed sage, lauding them contributed a jute robe. [1-4-20b-21a]
anyaH kR^iSNaajinam adad yaj~na suutram tathaa aparaH ||
kashchit kamaNDalum pradaan mau~njiim anyo mahaamuniH |
brusiimanyaH tadaa praadat kaupiinam aparo muniH || 1-4-22
taabhyaam dadau tadaa hR^iSTaH kuThaaram aparo muniH |
kaaSaayam aparo vastram chiiram anyo dadau muniH || 1-4-23
jaTaabandhanam anyaH tu kaaSTha rajjum mudaanvitaH |
yaj~na bhaaNDam R^iSiH kashcit kaaSThabhaaram tathaa paraH || 1-4-24
audumbariim brusiim anyaH svasti kechit tadaa avadan |
aayuSyam apare praahur mudaa tatra maharSayaH || 1-4-25
daduH cha evam varaan sarve munayaH satyavaadinaH |
21b-26a. anyaH kR^iSNaajinam adat= another sage, black-deerskin, bestowed; tathaa aparaH yaj~na suutram= like that, another sacred thread; kashchit kamaNDalum pradaat= someone, water-pot, bestowed; anyaH mahaamuniH mau~njiim= another, great saint, girdle of maunja grass; brusiim anyaH tadaa praadat kaupiinam= to tellers [to singes,] another, then, contributed, an under cloth; aparaH hR^iSTaH muniH taabhyaam dadau tadaa kuThaaram= another, gladdened, saint, to them, contributed, then, hatchet; aparaH muniH kaaSaayam vastram = another, sage, another, saffron, cloth; chiiram anyaH muniH dadau = cloth-wrapper, another, saint, bestowed; anyaH tu jaTaa bandhanam= another, also, tuft-headband; aparaH mudaanvitaH kaaSTha rajjum = another one, with enchantment wood-sticks, band; kashcit R^iSiH yaj~na bhaaNDam = someone, a sage, sacrificial vessel; kaaSThabhaaram tathaa paraH= firewood sticks, then, another; audumbariim= plank of audumbarii tree wood; brusiim anyaH svasti= called forth, other, blessings; kechit tadaa avadan= someone, then, chanted; aayuSyam apare praahuH= longevity, then, chanted; mudaa tatra maharSayaH= happily, there, great sages; daduH cha evam varaan= bestowed, also, thus, boons; sarve munayaH satyavaadinaH= by all, saints, truth-avowed one.
And another sage bestowed a black-deerskin, and like that yet another a sacred thread... someone gave a water-pot and another great saint a girdle of maunja grass to singers, while that way another contributed an under cloth; another sage gladly contributed a hatchet to them, another a saffron clothe, and yet another saint bestowed a cloth-wrapper; another delivered tuft-headband also, and another enchanted for their singing ballad handed out a sacrificial vessel, and another a bundle of firewood sticks, and yet another gave a plank-seat of audambari wood, and other called forth blessings, and someone then happily chanted bless-hymns for longevity... there by all the truth-avowing saints, those that are great sages have thus bestowed boons. [1-4-21b-26a]
aashcharyam idam aakhyaanam muninaa sa.nprakiirtitam ||
param kaviinaam aadhaaram samaaptam cha yathaa kramam |
26b-27a. muninaa samprakiirtitam= by sage Valmiki, well-said; idam aakhyanam= this, rendering; aascharyam= surprising; param kaviinaam aadhaaram= tomorrow's, poets, subsistence; yathaa kramam cha samaaptam = sequentially, as well completed.
"Surprising is this well-said rendering of Valmiki... it is the subsistence for tomorrow's poets... and this is completed sequentially, as well... [1-4-26b-27a]
abhigiitam idam giitam sarva giiteshhu kovidau || 1-4-27
aayuSyam pushhTi jananam sarva shruti manoharam |
prashasyamaanau sarvatra kadaachit tatra gaayakau || 1-4-28
rathyaasu raaja maargeshhu dadarsha bharataagrajaH |
27b-29a. idam giitam= this, song; saayuSyam puSTi janakam= longevity, prosperity, generates; sarva sruti manoharam= to all, ears, melodious one; abhigiitam= well-sung; prashasyamaanau= those being appreciated; rathyaasu raaja maargeSu= in streets, in king's, ways; sarvatra= everywhere; gaayakau= those that are singing; sarva giiteSu kovidau= in every type of, singing, experts - Lava and Kusha; kadachit tatra = at one time, there; dadarsha bharata agraja = on seeing, Bharata's, elder brother [Rama].
While this song that generates longevity and prosperity, and one that is melodious one to all ears is being sung everywhere in streets and king's ways and while those two singers who are experts in singing any kind of music are being appreciated everywhere, Rama has seen them. [1-4-27b-29a]
sva veshma cha aaniiya tato bhraatarau sa kushii lavau ||
puujayaamaasa puja arhau raamaH shatrunibarhaNaH |
29b-30a. tataH= then; satru nibarhaNaH= enemy, eliminator; saH ramaH= he, that Rama; puuja arhau= worthy to be honoured; braatarau kushii lavau= two brothers; sva vesma aayaniiya = to his palace, having fetched; puujayamaasa= honoured them.
Then on seeing them Rama, the enemy-eliminator, fetched those honour-worthy bothers, Lava and Kusha, to his palace and honoured them. [1-4-29b-30a]
aasiinaH kaa.nchane divye sa cha si.mhaasane prabhuH ||
upopaviSTaiH sachivaiH bhraatR^ibhiH cha samanvita |
30b-31a. saH prabhuH= he, that king Rama; upopaviSTaiH= sitting nearby; sachivaiH bhraatR^ibhiH cha samanvita= with ministers, brothers, also, surrounded by; divye kaa.nchane si.mhaasane= on divine, golden, throne; aasiinaH= sat.
He that king Rama is then surrounded by his ministers and brothers that are sitting his nearby, he himself sat on a divine golden throne. [1-4-3b-31a]
dR^ishhTvaa tu ruupa sa.mpannau viniitau bhraatarau ubhau ||
uvaacha lakshmaNam raamaH shatrughnam bharatam tathaa |
31b-32a. raamaH= Rama; dR^isTvaa= on seeing; ruupa sampannou= in features, rich; viniitau= mannerly ones; bhraatarau ubhau= at brothers, both; lakshmaNam shatrughnam bharatam tathaa= to Lakshmana, to Shatrughna, Bharata, likewise; uvaaca= spoke to.
Having seen the mannerly brothers endowed with beautiful features, Rama spoke to Lakshmana, and Shatrughna, and Bharata likewise. [1-4-31b-32a]
shruuyataam etad aakhyaanam anayoH deva varchasoH || 1-4-32
vichitraartha padam samyak gaayakau samachodayat |
32b-33a. anayoH deva varchasouH= from them, divinely, resplendent ones; vichitra artha padam= having versatile, meanings, wordings; idam aakhyaanam samyak shruuyataam= this, legend [ballad], keenly, be heard; [tau] gaayakau samachodayat= [them,] two singers, motivated.
Rama said to thus, "Let this ballad be keenly heard from these divinely resplendent brothers, for it contains versatile words and meanings...' and thus he motivated the singers. [1-4-32b-33a]
tau cha api madhuram raktam svachittaayata niHsvanam ||
tan.htrii layavat atyartham vishrutaartham agaayataam |
33b-c. tau cha api madhuram= those two, even, melodiously; raktam svachitaayata niHsvanam= effectually, with clear and clarified, voices; tantrii laya vat= string-instrument, rhythmic, like; atyartham= very; vishruta artham agaayataam= clear, meaningful [intonation,] have sung.
Even those two singers have sung the ballad melodiously and effectually, with their clear and clarified voices, like the melody of string and rhythmic instruments, with very clear and meaningful intonation. [1-4-33b-c]
hlaadayat sarva gaatraaNi manaa.msi hR^idayaani cha |
shrotraashraya sukham geyam tad babhau janasa.nsadi || 1-4-34
34. shrota aasraya sukham= for all ears, bearing, comfort; geyam= that song; jana sansadi= in people's, gathering; sarva gatraaNi= for all bodies [courtiers]; manamsi hR^idayani cha= minds, hearts, also; hlaadayat= enthralling,; tat babhau= that, shone forth.
Enthralling courtier's bodies, minds and hearts also, and thus that song sone forth as it is for all ears, bearing a comfort in its manifestation, among the gathering of the people. [1-4-34]
imau munii paarthiva lakshaNaanvitau
kushii lavau cha eva mahaatapasvinau |
mamaa api tad bhuuti karam prachakshate
mahaanubhaavam charitam nibodhata || 1-4-35
35. imau munii paarthiva lakshaNa anvitau= these two, saints, kingly, features, possessing; kushii lavau cha eva maha tapasvinau= Kusha, Lava, also, thus, great, hermits; mamaa api tat bhuuti karam= to me, also, that, good fortune, endowing; mahanubhaavam charitam prachakshyate = the great efficacious, legend, they tell; nibodhata= listen it.
"These two saint-like Kusha and Lava, who also possess kingly features, but they are great hermits... this narration is endowing good fortune to me also, listen to that great efficacious legend [of Seetha...]" [So said Rama to those courtiers.] [1-4-35]
Here Rama tells that this legend is 'efficacious' for it is the legend of Seetha, and should it be Rama's alone, he will get the blemish of self-glorification, aatma prashamsaa doSa , and brave heroes of legends cannot be subjected to such a blemish. And to listen to the legend of his dearest, who at present is not with him, gives a kind of consolation, and thus he is asking all of us to listen to siitaayaH caritam mahaan ...
tataH tu tau raama vachaH prachoditau
agaayataam maarga vidhaana sa.mpadaa |
sa cha api raamaH pariSad.h gataH shanair
bubhuushhaya aasaktamanaa babhuuva || 1-4-36
36. tataH= then; tau= those two, Lava and Kusha; raama vacaH prachoditau= Rama's, words, motivated by; maarga vidhaana sampadaa= in maarga system, well-versed in; agaayataam= sang; parishat gataH= in congregation, available; saH raama api= he, that Rama, even; shanaiH bhubhuuSaya= again, to pacify his mind; aasakta manaH babhuuva= interested, at heart, became.
Then those two singers, motivated by Rama's words, sang the ballad in maarga system, for they are well versed in it, then even Rama, who is also in the congregation, again to pacify his mind, [for the story of Seetha puts his mind to turmoil,] became interested at heart [to continue listening Seetha's story...] [1-4-36]
iti vaalmiiki raamaayaNe aadi kaavye baala kaaNDe caturthaH sargaH
Thus, this is the 4th chapter in Bala Kanda of Valmiki Ramayana,the First Epic poem of India.
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© 1998, Desiraju Hanumanta Rao [Revised - March 04]