Sage Valmiki goes to River Tamasa for a bath and sees a couple of birds, of which a hunter kills one. Valmiki unintentionally utters a poem, which is rich in grammar and new in metre, of which he is very much confused as to why such a poem has come from his tongue. Brahma, the presiding deity of letters appears and ordains Valmiki to author Ramayana, excellent epic of Rama, for which purpose alone he gave such divine meter and grammar to him.
naaradasya tu tadvaakyam shrutvaa vaakya vishaaradaH |
puujayaamaasa dharmaatmaa saha shishhyo mahaamuniH || 1-2-1
1. tu = then; mahaa-muniH = the great sage [Valmiki]; vaakya-vishaaradaH = a skilled speaker; dharmaatmaa = [and] a virtue minded one; tat vaakyam shrutvaa = having heard that speech; naaradasya = of Narada; puujayaamaasa = worshipped [him]; saha shiShyaH = along with disciples.
Then, the great sage Valmiki, a skilled orator and a virtue-minded one, having heard those words of Narada, worshipped him along with disciples. [1-2-1]
yathaavat puujitaH tena devarshhiH naaradaH tathaa |
aapR^icChaiva abhyanujJNaataH sa jagaama vihaayasam || 1-2-2
2. saH = That; devarShiH = divine sage; yathavat puujitaH = being worshipped befittingly;tena = by him [by Valmiki]; tathaa = in that way; apR^icCha = asking [for permission to leave]; abhyanuj~naataH = being permitted [by Valmiki]; vihaayasam jagaama = went heaven-ward.
That divine sage Narada being worshipped befittingly by Valmiki in that way, on seeking permission of Valmiki to leave and having been permitted by Valmiki, went away heaven-ward. [1-2-2]
sa muhuurtaM gate tasmin devalokam muniH tadaa |
jagaama tamasaa tiiram jaahnavyaat aviduurataH || 1-2-3
3. tadaa tasmin gate = Then on his [Narada's] going; muhuurtam devalokam = to the world of gods in a trice; tadaa = then; saH muniH = that sage [Valmiki]; tamasaa tiiram jagaama = went to the banks of Tamasa river; jaahnavyaat avi duurataH = not far from Jahnavi river.
Then, on Narada's going to the world of gods in a trice, that sage Valmiki went to the banks of Tamasa river not far from Jahnavi river. [1-2-3]
sa tu tiiram samaasaadya tamasaayaa muniH tadaa |
shishhyam aaha sthitam paarshve dR^ishhTvaa tiirtham akardamam || 1-2-4
4. tadaa = Then; saH muniH = that sage; tiiram samaasaadya = on reaching the shore; tamasaayaa = of Tamasa; akardamam = which was not dirty; aaha = spoke; shiSyam = to disciple; paarshve sthitam = who was at his side; dR^iSTva = on beholding; tiirtham = a ford.
Then that sage Valmiki on reaching the shore of the clean Tamasa, and on beholding a ford of that river, spoke to his disciple who was at his side. [1-2-4]
akardamam idam tiirtham bharadvaaja nishaamaya |
ramaNiiyam prasanna ambu san manushhya mano yathaa || 1-2-5
5. bharadwaja = Oh! Bharadwaaja; nishaamaya = behold; idam tiirtham = this ford; akardamam = which is without dirt; prasanna ambu = with clear waters; ramaNiiyam = (and) pleasant; san manuShyaH manaH yathaa = like a good man's mind.
"Oh! Bharadwaja, behold this ford which is without dirt, with clear waters and pleasant like a virtuous man's mind. [1-2-5]
nyasyataam kalashaH taata diiyataam valkalam mama |
idam eva avagaahishhye tamasaa tiirtham uttamam || 1-2-6
6. taata = my dear; nyasyataam kalashaH = let the hand-vessel [kamaNDalu] be kept [there]; mama valkalam diiyataam = let my bark-garment be given; avagaahiSye = I will enter; idam = this; uttamam = best; tamasaa tiirtham eva = Tamasa ford only.
"My dear! Let the hand-vessel [kamaNDalu] be kept [there]. Let my bark-garment be given to me. I will enter this best ford of Tamasa only... [1-2-6]
evam ukto bharadvaajo vaalmiikena mahaatmanaa |
prayachchhata muneH tasya valkalam niyataH guroH || 1-2-7
7. evam uktaH = Thus being said; mahaatmanaa vaalmiikena = by the great-souled Valmiki; guroH niyataH bharadwaajaH = Bharadwaaja who was obedient towards his Guru; valkalaM prayacChata = gave the bark-garment; tasya muneH = to that sage.
Thus being said by the great-souled Valmiki, Bharadwaaja who was obedient to his Guru, gave the bark-garment to the sage [1-2-7]
sa shishhya hastaat aadaaya valkalam niyatendriyaH |
vichachaara ha pashyan tat sarvato vipulam vanam || 1-2-8
8. saH = He [Valmiki]; indriyaH = with controlled senses; aadaaya = on taking; shishya hastaat = from disciple's, hands; valkalam = the bark-garment; pasyan sarvataH = looking in all directions; vichachaara ha = indeed moved away from; tat vipulam vanam = that wide forest.
That self-controlled Sage Valmiki on taking bark-garment from his disciple's hands, and looking in all directions, indeed moved away from that wide expanse of forest. [1-2-8]
tasya abhyaashe tu mithunam charantam anapaayinam |
dadarsha bhagavaan tatra krau~NchayoH chaaru nisvanam || 1-2-9
9. bhagavaan = holy [sage]; dadarsha = saw; krounchayoH mithunam = two curlews; anapaayinam = not leaving one another;chaaru nisvanam = charmingly cooing; charantam = moving about; tatra = there; tasya aabhaashe = in its [in foreshore's] vicinity.
There holy sage Valmiki saw a couple of curlews, in the vicinity of that river's foreshore, flying there about in togetherness and cooing charmingly. [1-2-9]
tasmaat tu mithunaat ekam pumaaMsam paapa nishchayaH |
jaghaana vairanilayo nishhaadaH tasya pashyataH || 1-2-10
10. niShaadaH = a tribal hunter; paapa nishchayaH = evil in intent; vaira nilayaH = a receptacle of enimity; jaghaana = killed; tasmaat midhunaat tu = among the couple; ekam = one; pumaamsam = male [bird]; tasya pasyataH = on his [Valmiki's] looking on; .
A tribal hunter with evil intent, and a receptacle of enimity, killed the male one among the couple of birds, while Valmiki was looking on. [1-2-10]
tam shoNita pariitaaN^gam ceShTamaanam mahiitale |
bhaaryaa tu nihatam dR^iShTvaa ruraava karuNaam giram || 1-2-11
viyuktaa patinaa tena dvijena sahachaariNaa |
taamra shiirshheNa mattena patriNaa sahitena vai | 1-2-12
11-12.bhaaryaa = wife; saha chaariNaa = [was] moving together; patinaa = with husband; taamra shiirSheNa = with a red crest; mattena = with joy; patriNaa = with good wings; sahitena = [always] united; tena dvijena = with that bird [male bird]; tam dR^iSTva = on seeing that male bird; nihitam = slain; mahiitale = on ground; veShTamaanam = reeling; shoNita pariitaangam = with blood covered wings [or body]; vai = really; ruraava = made wailing sounds; karuNaam giram = with piteous utterances; viyuktaa = on being separated [from her husband].
The wife was moving together with husband with a red crest and with joy, with good wings, always being united with that male bird. On seeing that bird slain on ground reeling with blood covered wings really made wailing sounds with piteous utterances on being separated from her husband. [1-2-11, 12]
tathaa vidhim dvijam dR^ishhTvaa nishhaadena nipaatitam |
R^isheH dharmaatmaanaH tasya kaaruNyam samapadyata || 1-2-13
13. dvijam dR^iSTvaa = On seeing [that] bird; niSadena nipaatitam = felled by the hunter; tathaa vidhim = in that way; tasya R^isheH = to that sage; dharmaatmaanaH = to that saintly one; kaaruNyam samapadyata = compassion occasioned.
On seeing that bird felled that way by the tribal hunter, compassion occassioned in that saintly sage Valmiki. [1-2-13]
tataH karuNa veditvaat adharmo ayam iti dvijaH |
nishaaMya rudatiim kraunchiim idam vacanam abraiit || 1-2-14
14. tataH = then; dvijaH = sage Valmiki; rudatiim krounchiim nishaamya = on seeing the wailing Krauncha bird; karuNa veditvaat = out of state of compassion; ayam adharmaH iti = this is unjust - thus [thinking]; idam vacanam abraviit = uttered this sentence.
Then on seeing the wailing female krounchi bird, out of state of compassion and apperceiving the killing of male bird as unjust, the sage uttered this sentence... [1-2-14]
maa nishhaada pratiShThaamtva | magamaH shaashvatiiH samaaH |
yat krau~Ncha mithunaat eka | mavadhiiH kaama mohitam || 1-2-15
15. ama niShaada = oh, violent hunter; yat = by which reason; avadhiiH = [you] killed; ekam = one; krau~Ncha mithunaat = of Krouncha couple; kaama mohitam = infatuated by passion; maa gamaH = [for that reason you] will not get; pratiSThaam = state of rest; shaashvatiiH samaaH = [for] ever lasting years to come.
"Oh! violent Hunter, by which reason you have killed one bird of the couple, when it was infatuated by passion, for that reason you will never get a state of rest for everlasting years to come..." [1-2-15]
त्वमगमः has been split as tu+ama+gamaH.
'For endless years to come, O Hunter, never shall thy soul find peace /' Romesh C. Dutt.
This verse has many comports of which a few are given hereunder:
This verse is taken as ma~NgalaacaraNa to Ramayana, for any epic has to have ma~Ngala aadiini; ma~Ngala madhyaani; ma~Ngala antaani A good pious beginning, pious middle and pious ending.
Because this verse has the letter maa at its start and maa is lakShmii vaacaka in Sanskrit. It is aadi varNaH The first letter loka maataa maa ramaa ma~Ngala devataa thus amara kosha says for Goddess Lakshmi.
maa= Goddess Lakshmi; niShaada= Oh! Vishnu [ for Goddess Lakshmi resides in the heart of Vishnu - niShadiiti asmin iti niShaada ]; yat = by which act; krounca midhunaat = the couple of demons, namely Ravana and Mandodari; kaama mohitam= that impassioned one and stole Seetha; ekam= that one, Ravana; avadhii= you killed; by that act of yours; shashvatiisamaa= everlasting for ages; pratiShTaam= divine sanctity; tvam agama= you, get.
"Oh, the abode of Goddess Lakshmi, namely oh, Vishnu, by which act of your killing one male demon named Ravana, who in his passion abducted Seetha, and thus you eradicated the vice from the earth, for that you get an everlasting divine sanctity, as Rama, for ages to come."
2] Next niSaada is attributable to Ravana, because he is the one who tortures others for his benefit. itaraam saadayati piiDayati iti niSaada thus: Oh! Ravana; krounch midhunaat= from the couple, say Rama and Seetha, who are flying from forest to forest like nest-less birds; ekam= one is, Seetha is; avadhii =you almost killed her by your torture of abducting her; pratiSTaam= your glory in Lanka, at its zenith, as per the kindness of Brahma; ma agama= never get, hereafter. But this declination is not held right, for it is like a curse, shaapa, and no epic starts with a curse.
3] Next, this verse is said holding Rama in the perspective. Sage Narada gave the details of the legend to Sage Valmiki because Brahma ordered that the legend of Rama is to be recorded. But Ramayana is full of pathos, karuNa shoka rasa prathaana. If it is to be penned the writer too shall have heart that can outpour that mood. So when Valmiki is at the river banks, Rama, say Vishnu, came in the guise of a tribal, as with other mythological episodes like kiraataarjuniiya etc., to test the capability of Valmiki in narrating pathos, and killed one bird. Valmiki reacted immediately and Vishnu's test is complete. But in exciting the mood of such holy sage, Vishnu / Rama gets a curse like separation from wife, as below.
nishaada= oh, tribal: Rama to Valmiki / Vishnu to mythology; for your killing one bird of the couple, to the misery of the female one; shaashvatii = as long as you live on this earth; samaaH pratiSTaam= togetherness, with your wife; ma agama= do not get.
Oh! Rama, as long as you are on earth, you do not get the love of being together with your wife, because you killed one from the bird couple... and you have to live with your wife departed [to Lanka,] come again, and then departed [to forests.]
But this is differed statement, since Vishnu does not require any personal testing of the capabilities of the writer of Ramayana. Brahma will look after such literary things.
4] The generally accepted meaning of this verse is this. Any epic's gist is to be said at the start or, at its commencement --- kaavya artha suucanam kascin aadyaam eva niruupyate--- Thus, the above verse included the meaning of whole of the epic, Ramayana.
i] maa niSaada= Goddess Lakshmi and Vishnu. Their marriage in their incarnations as Rama and Seetha, and Ramayana depicts this in Bala Kanda.
ii] pratiSTaam tvam agama= renown, you get, by following your father's orders you have repaired to forests, without any political upheaval, thus get an everlasting renown as an obliging son Ayodhya Kanda.
iii] shashavatii samaa= by dwelling in forest and eradicating demons and helping the saints and sages thus, you achieve an everlasting praise Aranaya Kanda.
iv] krounchayoH= from the [atrocious] couple; k-- krunca gati kauTilyaa alpii bhaavayoH; the atrocious Vali, and Tara couple; ekam kaama mohitam = one, passion, filled, i.e., Vali; avadhii= you killed, you killed Vali Kishkindha Kanda.
v] krouncha mithunaat= from the couple of lovely passionate birds here Rama and Seetha; niSaada that ruffian Ravana, kaama mohitam lustfully, ekam one [i.e., Seetha]; avadhii = almost killed, i.e., her residing in Lanka is as good as death Sundara Kanda.
vi] krouncha mithunaat = from the atrocious, couple Ravana and Mandodari; ekam avadhii one Ravana, you killed Yuddha Kanda.
vii] kaama mohitam= by desire, fascinated [ kama also means a longing, desire, let alone lusting]; Seetha is fascinated by her desire to see sage's wives in uttara Ramayana and thus she is sent to forests through Lakshmana. Hence seventh canto, uttara Ramayana is also suggested.
tasya evam bruvataH chintaa babhuuva hR^idi viikshataH |
shokaartena asya shakuneH kim idam vyaahR^itam mayaa || 1-2-16
16. evam bruvataH = thus speaking; viikshataH = pondering; tasya hR^idi = in his heart; chintaa babhuva = [he] became thoughtful; kim = what; idam = [is] this; vyaahR^itam = utterance; mayaa = by me; shoka aartena = in grief and anguish;asya shakuneH = for this bird.
Thus speaking and pondering in his heart, he became thoughtful: "What is this utterance by me in grief and anguish for this bird?". [1-2-16]
chintayan sa mahaapraaj~naH chakaara matimaan matim |
shishyam cha eva abraviit vaakyam idam sa munipuN^gavaH || 1-2-17
17.saH muni pu.ngavaH = That best among sages; matimaan = [who was] an intellectual; mahaa praaj~naH = [and] a great wise one; chintayan = on cogitating; matim chakaara = made up [his] mind; idam vaakyam abraviit cha eva = and also spoke these words; shishyam = to the disciple.
That great wise one who was an intellectual and the best among sages, on cogitating, made up his mind and also spoke these words to the disciple... [1-2-17]
paada baddhaH akshara samaH tantrii laya samanvitaH |
shokaartasya pravR^itto me shloko bhavatu na anyathaa || 1-2-18
18. me shokaartasya = while I was tormented by grief; pravR^ittaH = [there] arose; paada baddhaH = [a sentence] consisting of verses; samanvitaH = possessing; akShara samaH = metrically posited letters; tantrii laya = [suitable for] union of song and string music; shlokaH bhavatu = [that] will be [called] Shloka; na anyathaa = not otherwise.
"While I was tormented by grief, there arose a sentence consisting of four verses possessing metrically posited letters suitable to be played as song and string music and that will be called Shloka, not otherwise..." [1-2-18]
This verse he uttered is in four quarters, each quarter with equally posited eight syllables. This is called anuSTubh metre in Sanskrit poetry. The eight syllables are, -- maa ni Shaa da pra ti ShTaa~N tva | ma ga ma shaa shva tiiH sa maa -- Each quarter is paada in Sanskrit, pede in Latin; with two quarters in first stanza, and two stanzas one verse. This apart there are other rules like caesura yati ; alliteration praasa ; and other compositional rules. It has come out of shoka sorrow, so the format is named as sloka. And, shloka also means yashas, kiirti renown.
shiShyaH tu tasya bruvato muner vaakyam anuttamam |
prati jagraaha saMtushhTaH tasya tuShToaH abhavat muniH || 1-2-19
19. shishyaH tu = disciple, even; bruvataH = what is articulated; tasya muneH = by that [Valmiki's,] saint; santuSTaH pratijagraaH = felt happy, received; vaakyam aunuttamam = word [verse,] unique one; tasya = by that; tuSTaH abhavat muniH = happy, became, saint.
Even the disciple happily received what that is articulated by the saint, a unique articulation, by which the saint too, became happy. [1-2-19]
so.abhiShekam tataH kR^itvaa tiirthe tasmin yathaavidhi |
tam eva chintayan artham upaavartata vai muniH || 1-2-20
20. tataH = then; saH muniH = that, saint; tasmin tiirthe = in that, ford; yathaa vidhi = as per, custom; abhishekam kR^itva = bathing, on performing; tam ardham eva chintayan = its, purport, alone, on thinking; upa aavartata vai = back, he came, really [returned to hermitage.]
Then that saint on performing his bathing in that ford according to custom, and still thinking on the purport of his utterance, he returned towards his hermitage. [1-2-20]
This is mid day bath for these hermits. tato madhyaahna snaanaartham mR^idam aaharet | - - prekShya sa omkaaram aadityam triH nimajje jalaashaye - - vyaasa smR^iti The word abhisheka refers to ceremonial showering of waters on deities or on kings in his coronation. At the beginning Valmiki arrives at the river for a daily bath, which he would do by usual dipping in river waters. But here it appears that waters are showered on him, abhishekam kR^itva meaning that waters showered on him are on the analogy of poetic verses of Ramayana.
bharadvaajaH tataH shiShyo viniitaH shrutavaan guroH |
kalasham puurNamaadaaya pR^ishhThataH anujagaama ha || 1-2-21
21. tataH viniitaH = then, obedient one; shrutavaan = one who listened many scriptures, [erudite scholar]; shishyaH = disciple; Bharadwaja; puurNam kalasham = filled, handy-vessel; aadaya = on taking; guroH = mentor's; pR^iSTataH anujagaama = at behind, followed.
Then Bharadwaja, the obedient disciple and an erudite scholar, for he heard and learnt many scriptures by listening, on taking handy-vessel full with water followed at the behind of his mentor. [1-2-21]
sa pravishya aashrama padam shiShyeNa saha dharmavit |
upavishhTaH kathaaH cha anyaaH chakaara dhyaanamaasthitaH || 1-2-22
22. dharma vit saH = dharma, knower of, he [Valmiki]; shishyeNa saha = disciples, along with; pravisya aashrama padam = on entering, hermitage's, threshold; upaviSTa = having seated; anyaH kathaaH ca chakaara = other, topics, also, made - spoke about; dhyaanam aasthitaH = [but in] cogitation, preoccupied in.
He that knower of dharma, Valmiki, having entered the threshold of hermitage along with disciples, and having seated spoke about the day-to-day teachings and also other things, but he himself is preoccupied in cogitation on the verse. [1-2-22]
aajagaama tataH brahmo lokakartaa svayam prabhuH |
chatur mukho mahaatejaa draShTum tam munipuN^gavam || 1-2-23
23. tataH = then; loka kartaa = worlds, maker of [creator of 14 worlds]; prabhuH = almighty; chatur mukhaH = four-faced one; maha tejaH = great resplendent one; brahma = Brahma; draSTum = to see; tam muni pungavam = him, that sage, the eminent; svayam = on his own; aajagaama = arrived.
Then, the great resplendent Four-faced creator of fourteen worlds, almighty Brahma, arrived there on his own, to see that eminent saint Valmiki. [1-2-23]
Comment; The deities do not usually arrive on their own, but reveal themselves after a great penance, or on raising hue and cry as is done by demon devotees. Here Brahma, one among the Trinity of Hindu mythology, arrives on his own, to execute a divine deed through Valmiki, i.e. authoring the epic, Ramayana.
vaalmiikiH atha tam dR^iShTvaa sahasaa utthaaya vaagyataH |
praanjaliH prayato bhuutvaa tasthau parama vismitaH || 1-2-24
24. atha = then; prayataH = pious one; Valmiki; tam dR^iSTva = Him [ Brahma,] on seeing; parama vismitaH = highly, surprised; sahasa uthaaya = quickly, on getting up; pra anjali bhuutvaa = humbly adjoining palms; vaagyataH = spellbound; tatsthau = stood aside.
Then that pious saint Valmiki is highly surprised on seeing Brahma, and on quickly getting up from his seat with his palms adjoined humbly, he stood aside, as he is spellbind. [1-2-24]
puujayaamaasa tam devam paadya arghya aasana vandanaiH |
praNaMya vidhivat ca enam pR^ishhTvaa ca eva niraamayam || 1-2-25
25. tam enam devam = him, such a one, at that god; praNamya vidhivat ca = on making obeisance, customarily; pR^ishhTvaa ca eva niraamayam = on inquiring, also, thus, well-being; paadya = water for washing the feet; arghya = water for drenching the thirst; aasana = seating on a high seat; vandanaiH = with adorations; puujayaamaasa = started to venerate.
Valmiki venerated Brahma, on inquiring into his well-being, washed his feet, drenched his thirst, seated him to rest, and adored at best with customarily obeisance. [1-2-25]
Comment: Brahma is one in the Trinity of Brahma, Vishnu, and Shiva. Brahma is pictured to have four faces, each representing one Veda, where Vedas are four in number. He is the creator of worlds, while Vishnu maintains them, and Shiva dissolute them. The concert of Brahma is Saraswati, the presiding deity of speech, who was earlier requested by Brahma to be on the tongue of Valmiki to utter the poem, [as at 1-2-15] as an intuition to Valmiki. Thus Brahma now arrives to ordain Valmiki to author Ramayana.
atha upavishya bhagavaan aasane parama archite |
vaalmiikaye ca R^iShaye sandidesha aasanam tataH || 1-2-26
26. atha upavishya bhagavaan aasane = then, seated, god, on [high] seat; parama archite = very, highly, worshipped [by Valmiki]; vaalmiikaye ca R^iSaye = at Valmiki, also, Sage; sandidesha aasanam tataH = beckoned, to a seat, then.
Then god Brahma, who is seated on a high seat, very highly worshipped by Valmiki, also beckoned at Valmiki to take a seat. [1-2-26]
brahmaNaa samanuj~naataH so.api upaavishat aasane |
upaviShTe tadaa tasmin saakshaat loka pitaamahe | 1-2-27
tat gatena eva manasaa vaalmiikiH dhyaanam aasthitaH ||
27-28a. saH api = he [Valmiki,] even; brahmaNaa sam anuj~naataH = by Brahma, duly, permitted; aasane upaavishat = on seat, entered [sat]; tadaa = then; tasmin loka pitaamahe = that, worlds, Grandparent of; saakshaat = manifestly; upaviSTe [sati] = seated [before him, though]; Valmiki; tat gatena eva = those, happenings, only; manasaa dhyaanam aasthitaH = mentally, brooding, recurred.
Even though Valmiki sat on his seat when duly permitted by Brahma, and though the Grandparent of the worlds is manifestly sitting before him, but the same broodings on those happenings occurred on that day have recurred on his mind. [1-2-27-28a]
paapaatmanaa kR^itam kaShTam vaira grahaNa buddhinaa | 1-2-28
yat taadR^isham chaaruravam krauncham hanyaat akaaraNaat ||
28b-29a. yaH = he who, tribal hunter; taadR^isham = that sort of; chaaru ravam krauncham = cutely, calling, krouncha bird; a kaaraNaat hanyaat = without, reason, kills [killed]; vaira grahaNa buddhinaa = enemy [kill,] capturing, intending to; paapa aatmanaa = by evil, souled one; kaSTam kR^itam = hardship, is caused.
"He that tribal hunter, who killed a cutely calling krounch bird for no good reason than intending to capture the kill, is an evil souled one that caused hardship..." [1-2-28b-29a]
shochan eva punaH kraunchiim upa shlokam imam jagau | 1-2-29
punar antargata manaa bhuutvaa shoka paraayaNaH ||
29b-30a. shoka paraayaNaH = melancholic mood, one in [Valmiki]; antargata manaa bhuutvaa = depths of, mind, on turning in; punaH = again; kraunchiim shochan eva = about krouncha bird, on thinking, only; shlokam imam upajagau = verse, this [verse,] [involuntarily]sung.
Remaining in melancholic mood Valmiki turned his mind to the depth of thinking, and again thinking only on the krouncha bird he sung the same verse, involuntarily. [1-2-29b-30a]
The word jaguH is singing; gai= shabde; liT; prathama bahu; jagau - jagatuH - jaguH; variant of gaay; c.f. Raghuvamsha of Kalidasa, verse 20, in fourth sarga; aakumaarakathoddhaata.m shaaligopyo jaguryashaH
tam uvaacha tato brahmaa prahasan munipuMgavam | 1-2-30
shloka evaastvayaam baddho na atra kaaryaa vichaaraNaa ||
30b-31a. tataH = then; brahmaa prahasan = Brahma, smilingly; tam muni pungavam uvaacha = to him, that saint, the eminent, spoke to; shloka eva tu = verse, only, but; ayam baddaH = that one, composed; na atra kaaryaa vichaaraNaa = not, there, need to, think through.
Then, Brahma smilingly spoke to that eminent saint Valmiki, "But, what that is composed is a verse only... and there is no need to think through... [1-2-30b-31a]
mat cChandaat eva te brahman pravR^itte ayam sarasvatii | 1-2-31
raamasya charitam kR^itsnam kuru tvam R^ishhisattama |
31b-32a. hè brahman = oh, Brahman; te ayam sarasvatii = your, that, speech; mat cChandaat eva = at my, wish, alone; pravR^itte = sprang forth; hè R^iSi sattama = oh, sage, the eminent; raamasya charitam k R^itsnam = Rama's, legend, in entirety; tvam kuru = you, render.
"Oh, Brahman, that speech of yours sprang forth at my wish alone, hence oh, eminent sage, you shall render the legend of Rama, in its entirety... [1-2-31b-32a]
dharmaatmano bhagavato loke raamasya dhiimataH || 1-2-32
vR^ittam kathaya dhiirasya yathaa te naaradaat shrutam |
32b-33a. dharma aatmanaH = virtue, souled one; loke bhagavataH = in world, godlike; dhiimataH = an intellectual; dhiirasya = intrepid one; raamasya vR^ittam = Rama's, legend; tè yatha srutam naaradaat = by you, as heard, from Narada; kathaya = narrate.
"You shall narrate the legend of Rama, the virtuous, intellectual and an intrepid one, and a godlike person in this world as well, as you have heard it from sage Narada. [1-2-32b-33a]
rahasyam cha prakaasham cha yad vR^ittam tasya dhiimataH || 1-2-33
raamasya saha saumitre raakshasaanaam cha sarvashaH |
vaidehyaaH cha eva yad vR^ittam prakaasham yadi vaa rahaH || 1-2-34
tat ca api aviditam sarvam viditam te bhaviShyati |
33b-35a. dhiimataH = of valorous one; saha SoumitreH = with Sumitra's son, [Lakshmana]; tasya ramasya = of his, Rama's; [vR^ittam = adventures]; raakshasaanam ca = of the demons, also; [vR^ittam = misadventures]; rahasyam ca prakaasam ca = unknown, or, known, or; sarvasaH = in every detail; yat vR^ittam vaidehyaa ca eva = which is, the plight, of Vaidehi, also, even; prakaasam yadi va = revealed, either, or; rahaH vaa = unrevealed, or; yat vR^ittam = whatever, legend happened; tat ca = that, also; a viditam api = un, known, even; sarvam te viditam bhaviSyati = all, to you, known, it will be.
"The adventures of valorous Rama along with Lakshmana, and the misadventures of demons, known or unknown in every detail, and even the plight of Vaidehi which is either revealed or un-revealed so far, and whatever legend that has happened, all that will also be known to you, even if it were to be unknown, as yet... [1-2-33b-35a]
na te vaak anR^itaa kaavye kaachit atra bhavishhyati || 1-2-35
kuru raama kathaam puNyaam shloka baddhaam manoramaam |
35b-36a. atra kaavye = in this, epic; te vaak = your, word; kaachit = any one [word]; a nR^itaa = un, founded; na bhavishyati = not, it results in; punyam = merit-yielding; manaH ramaam = heart, pleasing; raama kathaam = Rama's, legend; sloka baddhaam kuru = verse, bound, you make.
"You shall versify the heart pleasing and merit-yielding legend of Rama, and not a single word of yours will be unfounded in this epic... [1-2-35b-36a]
yaavat sthaasyanti girayaH saritaH cha mahiitale || 1-2-36
taavat raamaayaNa kathaa lokeShu prachariShyati |
36b-37a. girayaH = mountains; saritaH ca = rivers, even; mahii tale = on earth's, surface; yaavat = as long as; sthasyanti = there will be; taavat = so long; raamayaNa katha = Rama's, legend - Ramayana; lokeSu = in the world; prachariSyati = will flourish.
"As long as the mountains and even rivers flourish on the surface of the earth, so long the legend of Ramayana will flourish in this world... [1-2-36b-37a]
yaavat raamasya ca kathaa tvat kR^itaa pracharishhyati | 1-2-37
taavat uurdhvam adhaH cha tvam mat lokeshhu nivatsyasi |
37b-38a. tvat = by you; kR^itaa = authored; yaavat = as long as; raamasya katha = Rama's legend; pracharishyati = flourishes; taavat = till then; tvam = you; uurthvam = heavenward; athaH ca = in netherworlds, even; mat lokeSu = in my abode [Brahma loka]; nivatyasi = you will be dwelling, [flourishing].
"And as long as Rama's legend authored by you flourishes...till then you will flourish in heavenly, in netherworlds, and even in my abode, namely Abode of Brahma... [1-2-37]
iti uktvaa bhagavaan brahmaa tatra eva antaradhiiyata |
tataH sa shishhyo bhagavaan muniH vismayam aayayau || 1-2-38
38b-c. bhagavaan = The Divinity; Brahma; iti uktvaa = thus, saying; tatra eva = there only; antaradhiiyata = vanished; tataH = then; saH shiSyaH = along with, disciples; bhagavaan muniH = godly, sage; vismayam aayayau = astonishment, came upon [wondered.]
On saying thus that Divinity Brahma vanished then and there only, and then that godly sage Valmiki came by astonishment, along with his disciples. [1-2-38b-c]
tasya shishhyaaH tataH sarve jaguH shlokam imam punaH |
muhur muhuH priiyamaaNaaH praahuH cha bhR^isha vismitaaH || 1-2-39
39. tatha = then; tasya = his; shishyaaH = disciples; sarve = all of them; muhuH muhuH = again, again [time and again]; priiyamaaNaaH = very delightedly; punaH = again; slokam imam = verse, this one; jaguH = sang; bhR^isha vismitaaH = much astonished; pra aahuH cha = reciprocally recited, also.
Then all of the disciples of Valmiki sang this verse time and again very delightedly, and muchstonished they also recited this verse, reciprocally. [1-2-39]
samaaksharaiH chaturbhiH yaH paadaiH giito maharshhiNaa |
saH anuvyaaharaNaat bhuuyaH shokaH shlokatvam aagataH || 1-2-40
40. yaH = that which is; sama aksharaiH = equally, lettered; chaturbhiH = four; paadaiH = footed; maharSiNaa = by great sage; giitaH = articulated; saH slokaH = that, verse; anuvyaharaNaat = by recitation; bhuuya = again, further; slokatvam = prominence of verse proper; aagaataH = attained.
Equally lettered, four-footed is that verse when great Sage Valmiki articulated it, and when repetitively recited by one and all, it attained prominence as verse proper. [1-2-40]
Comment: A poet never says poetry to satisfy his own instincts, but to imbue an involuntary imagination or passion in oComment: A poet never says poetry to satisfy his own instincts, but to imbue an involuntary imagination or passion in others when read or heard by the so called others. It is the empathy of that poetry. For Kalidasa it is shR^ingara, passion, for Bhavabhuti it is pity 'eko rasaH karuNa...' for Valmiki it is pathos, shoka. For this Kavi Kalidas says: niShaada viddha aNDaja darshanotthaH shlokatvam aapadyata yasya shokaH -- raghu va~Nsha 14-60 There are two texts for this one is, shlokaH shlokatam aagataH... meaning that the verse originally structured metrically can now can be sung. Second is shokaH shlokatvam aagataH... the pathos of the poet attained the status of verse that is now being sung by the disciples, thus anyone can recite it.
tasya buddhiH iyam jaataa maharSheH bhaavitaatmanaH |
kR^itsnam raamaayaNam kaavyam iidR^ishaiH karavaaNyaham || 1-2-41
41. aham = kR^itsnam raamaayaNam kaavyam = entire, Ramayana, epic; iidR^ishaiH = this sort of [in suchlike verses]; karavaaNi = I will compose; iyam buddhiH = this kind of, intuition; bhaavita aatmanaH = for that contemplated soul; tasya maharSeH jaataa = to that, great sage, born.
Born is an intuition in that great sage and contemplated soul asserting that "I will compose entire Ramayana, the epic, in suchlike verses...' [1-2-41]
udaara vR^itta artha padaiH manoramaiH
tadaa asya raamasya chakaara kiirtimaan |
sama aksharaiH shloka shataiH yashasvino
yashaskaram kaavyam udaara darshanaH || 1-2-42
42. kiirtimaan udaara darshanaH = celebrated, magnanimous, seer; tadaa = then; yashasvinaH = of that highly renowned one, Rama; asya raamasya = of that, Rama; yashas karam kaavyam = renown, furthering [extolling,] epic; udaara vR^itta artha padaiH = free-flowing, prosody, semantically, yielding meanings; manoramaiH = heart-pleasing one; sama aksharaiH shloka shataiH = with symmetrical, letters, verses, in hundreds; chakaara = authored.
That celebrated sage and magnanimous seer Valmiki then authored the highly renowned Rama's legend extolling Rama's renown, with symmetrically worded verses, and words versified to yield meanings semantically, prosody free-flowing, and with hundreds of such verses. [1-2-42]
tad upagata samaasa sandhi yogam
sama madhuropanata artha vaakya baddham |
raghuvara charitam munipraNiitam
dasha shirasaH cha vadham nishaamaya adhvam || 1-2-43
43. upagata samaasa sandhi yogam = included, compound, conjunctions, conjugations; sama madhura upanata artha vaakya baddham = evenly, sweetly, led, expressive, sentences, well-knit; muni praNiitam = sage, said; tat raghu vara charitam = that, Raghu's, best [one from,] legend; dasha shirasaH vadham ca = ten, headed one's, extermination, also; nishaamaya adhvam = behold, this way.
That epic contains uncomplicated compounds, conjunctions and conjugations, and has expressive sentences that are well knit and led evenly and sweetly, and that legend pertains to the best one from Raghu's dynasty, namely Rama, which also includes the extermination of the Ten headed evil named Ravana, and further, it is said by the sage, hence this may now be listened… [1-2-43]
This is balladeers bidding to the audience. The word muni praNiitam reminds that a non-saint cannot tell an epic; na anR^ishi kurute kaavyam and hence it is to be listened attentively.
iti vaalmiki raamaayaNe aadikaavye baala kaaNDe dvitiiyaH sargaH
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© 1998, Desiraju Hanumanta Rao [Revised - March 04]