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' siithaayaH charitam mahat as Valmiki calls Ramayana.
प्राप्तराज्यस्य रामस्य वाल्मीकिर्भगवानृषिः |
चकार चरितं कृत्स्नं विचित्रपदमर्थवत् || १-४-१
1. bhagavaan R^iSiH = godly, saint Valmiki; praaptaraajasya raamasya = on retrieval, of kingdom by Rama; vichitrapadam = 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]
चतुर्विंशत्सहस्त्राणि श्लोकानामुक्तवानृषिः |
तथा सर्गशतान् पञ्च षट् काण्डानि तथोत्तरम् ||१-४-२
2. R^iSiH = sage Valmiki; shlokaanaam = verses; chaturvimshatsahasraaNi = twenty-four thousand; tathaa = that way; panchasargashataan = five hundreds chapters; SaT kaaNDaani cha = six, books, also; tathaa uttaram = that way, an end piece; uktavaan = said.
Sage Valmiki said Ramayana in twenty four thousand verses, in five 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 caturvi~Nshatisa~Nkhyo uktyaa caturvi~NshatyakSharagaayatrii tulyataa suucitaa | prathamaadhyaaye - tapaHsvaadhyaaya - ityatra prathamam takaarasya - sargaante - mahatvamiiyaat -- ityatra yaat - iti akSharasya grahaNaat api gaayatriiruupatvam suucitam - dharmaakuutam
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 mahaayuga -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, paramaatmatattva ; 2] Ideation to know Him, upaaya ; 3] Dedication in Him, kainkarya ; 4] Human aspect, puruSaakaara ; 5] Diviner, adhikaara ; 6] Resolve in God, adhikaarapaaratantrya ; 7] God's resolve in Dedicate, bhagavatpaaratantrya ; 8] Knowledge of five Meanings, arthapancakaj~naana ; 9] Self-denial, akincanatvam ; 10] Teacher selecting, aacaaryavaraNam ; 11] Climax, autkaNThataa ; 12] Behaviour, pravartanaa ; 13] Residence, vaasasthaana ; 14] Two Narayana hymns, naaraayaNamantradvaya ; 15] Gayatri, Gayatri hymn; 16] Negating negative-thinking, durvicaaraparihaara ; 17] negating Love for Living, samsaarajihaasa ; 18] 64 Divinely Arts, catuHSaSTi-kalaamayatva . Of them we take up the 15th Gayatri.
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.
कृत्वापि तन्महाप्राज्ञः सभविष्यं सहोत्तरम् |
चिन्तयामास कोन्वेतत्प्रयुञ्जीयादिति प्रभुः ||१-४-३
3. mahapraaj~naH prabhuH = great scholar, godly-saint Valmiki; sabhaviShyam saha uttaram = with leading, with sequel; tat = that Ramayana; kR^itvaa tu = having composed, but; kaH = who; nu = really; etat = all this; prayu~njiiyaat iti = well render, thus; chintayaamaasa = 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]
तस्य चिन्तयमानस्य महर्षेर्भावितात्मनः |
अगृह्णीतां ततः पादौ मुनिवेषौ कुशीलवौ || १-४-४
4. tataH = then; muniveShau kushiilavau = Kusha, Lava in hermits attire; chintayamaanasya = thoughtful one; bhaavitaatmanaH = 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]
कुशीलवौ तु धर्मज्ञौ राजपुत्रौ यशस्विनौ |
भ्रातरौ स्वरसम्पन्नौ ददर्शाश्रमवासिनौ || १-४-५
5. kushiilavau tu = Kusha and Lava; dharmaj~nau = virtue-knowers; raajaputrau = princes; yashasvinau = glorious ones; svarasampannau = endowed with melodious voice; bhraatarau = brothers; aashramavaasinau = residents of [of same] hermitage; [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]
स तु मेधाविनौ दृष्ट्वा वेदेषु परिनिष्ठितौ |
वेदोपबृंहणार्थाय तावग्राहयत प्रभुः || १-४-६
6. prabhuH = self-reliant sage; saH = he, Valmiki; medhaavinau = intellectual pair; vedeShu pariniSTitau = proficient in Vedas; dR^iSTvaa = having seen; vedopabR^imhaNaarthaaya [ kathitam kaavyam] = aiming at ancillary reinforcement of Veda-s[rendered, epic]; tau agraahayata = 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]
काव्यं रामायणं कृत्स्न्नं सीतायाश्चरितं महत् |
पौलस्त्यवधमित्येवं चकार चरितव्रतः || १-४-७
7. charitavrataH = sage who observed all sacred vows; kR^itsnam kaavyam = entire epic; raamaayaNam = Ramayana; siithaayaH charitam mahat = Seetha's, sublime legend; poulastyavadham = Ravana's, elimination; iti = thus [naming]; evam cakaara = that way, 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. poulasthyavadha . Giving one to many names to poem/epics is usual as in maaghakaavya' which is known as shishupaalavadha whereas it is actually kR^iShNacarita .
पाठ्ये गेये च मधुरं प्रमाणैस्त्रिभिरन्वितम् |
जातिभिः सप्तभिर्बद्धं तन्त्रीलयसमन्वितम् ||१-४-८
8. paaThye geye madhuram = melodious to read and to sing; pramaaNaiH tribhiH anvitam = adaptable in three kinds scales; jaatibhiH saptabhiH baddham = orchestral sevenfold classification; tantriilayasamanvitam = 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  gaandhaara  niSaada  R^iSabha  dhaivata  pa~nchama . These are roughly identical to Accelerando, Calando, Decresando, Smorzando, Sostentuo, and others of Western classical music.
रसैः शृंगारकरुणहास्यरौद्रभयानकैः |
वीरादिभी रसैर्युक्तं काव्यमेतदगायताम् ||१-४-९
9. rasaiH sR^ingaarakaruNahaasyaraudrabhayaanakaiH = aesthetics, romance, pathos, comic, fury, fright, and others; viiraadibhiH rasaiH yuktam = embodying aesthetics like valour et cetera; kaavyam agaayataam = 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^ingaara [romance] haasa [humour] shoka [grief] krodha [fury] utsaaha [enthusiasm, bravery] bhaya [fright] jugupsaa [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.
तौ तु गान्धर्वतत्त्वज्ञौ स्थानमूर्च्छनकोविदौ |
भ्रातरौ स्वरसम्पन्नौ गन्धर्वाविव रुपिणौ || १-४-१०
10. tau tu gaandharvatattvaj~nau = they are conversant with musical art; sthaanamuurchanakovidau = proficient in pause pitch of voice; bhraatarau svarasampannou = two brothers with wealthy voice; gandharvau 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-vidyaa.
रूपलक्षणसम्पन्नौ मधुरस्वरभाषिणौ |
बिम्बादिवोत्थितौ बिम्बौ रामदेहात्तथापरौ || १-४-११
11. ruupalakShaNasampannau = privileged with in appearance charm; madhurasvarabhaShiNau = melodiously voiced in voicing; bimbaat iva utthitau bimbau = reflections issued forth like [from original] reflection; raamadehaat = from Rama's body; tathaa 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.
तौ राजपुत्रौ कार्त्स्न्येन धर्म्यमाख्यानमुत्तमम् |
वाचो विधेयं तत्सर्वं कृत्वा काव्यमनिन्दितौ || १-४-१२
12. tau raajaputrau kaartsnyena = they, king's, sons [princes,] in entirety; dharmyam aakhyanam uttamam = virtue expounding, best epic; vaachaH vidheyam tat sarvam = by voice, preserved [memorized,] all that; kR^itvaa kaavyam aninditau = 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]
ऋषीणां च द्विजातीनां साधूनां च समागमे |
यथोपदेशं तत्त्वज्ञौ जगतुः सुसमाहितौ || १-४-१३
13. R^iSiiNaam cha dvijaatiinaam = of sages, also, of scholars; saadhuunaam cha samaagame = also assemblages of eminent persons; yathopadesham tattvaj~nau = as schooled, those two that are well aware of; jagatuH = sung; susamaahitau = 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]
महात्मानौ महाभागौ सर्वलक्षणलक्षितौ |
तौ कदाचित्समेतानामृषीणां भावितात्मनाम् |
मध्येसभं समीपस्थाविदं काव्यमगायताम् || १-४-१४
14. mahaatmaanau = those two great-souls; mahaabhaagau = highly endowed [with musical talent]; sarvalakShaNalakShitau = possessing all features; tau kadachit = those two, once; sametaanaam R^iSiiNaam = at a gathering, of sages; bhaavitaatmanaam = of pious souls; madhyesabham samiipasthau = standing nearby midst of assemblage; idam kaavyam agaayataam = sung this epic.
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]
तच्छ्रुत्वा मुनयः सर्वे बाष्पपर्याकुलेक्षणाः |
साधु साध्विति तावूचुः परं विस्मयमागताः || १-४-१५
15. sarve munayaH = all, sages; tat shrutvaa = that, on hearing; param vismayam aagataaH = great, surprise, coming on; baaSpaparyaakulekShaNaaH = with tears overspread eye-sight; saadhu saadhu iti tau 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...' [1-4-15]
ते प्रीतमनसः सर्वे मुनयो धर्मवत्सलाः |
प्रशशंसुः प्रशस्तव्यौ गायमानौ कुशीलवौ || १-४-१६
16. sarve munayaH = they, all the saints; dharmavatsalaaH = [saints] patrons of virtue; te priitamanasaH = they pleased at heart; prashastavyau = praise worthy ones; gaayamaanau kushiilavau = while singing, Kusha and Lava; prashashamsuH = 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. [1-4-16]
अहो गीतस्य माधुर्यं श्लोकानां च विशोषतः |
चिरनिर्वृत्तमप्येतत् प्रत्यक्षमिव दर्शितम् || १-४-१७
17. aho giitasya maadhuryam = aho, ballad's, melody [is superb]; visheSataH cha slokaanam = especially, also, of verses; etat chiranirvR^ittam api = all this though happened long-ago; pratyakSham iva darshitam = shown like happenig one presently.
"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... [1-4-17]
प्रविश्य तावुभौ सुष्ठु तथा भावमगायताम् |
सहितौ मधुरं रक्तं सम्पन्नं स्वरसम्पदा || १-४-१८
18. 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; svarasampadaa sampannam = (shaDjaadi svarasampadaa) maintaining pitch and tune; bhaavam agaayataam = sang its import.
"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. [1-4-18]
एवं प्रशस्यमानौ तौ तपःश्लाघ्यैर्महर्षिभिः |
संरक्ततरमत्यर्थं मधुरं तावगायताम् || १-४-१९
19. tapaHshlaaghyaiH maharSibhiH = great saints blessed by asceticism; evam prashasyamaanau = that way, being appreciated; tau = those two; samraktataram = very effectually; atyartham = 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. [1-4-19]
प्रीतः कश्चिन्मुनिस्ताभ्यां संस्थितः कलशं ददौ |
प्रसन्नो वल्कलं कश्चिद्ददौ ताभ्यां महायशाः || १-४-२०
20. kashchit muniH = someone, a saint; priitaH = pleased; samsthitaH = on getting up; taabhyaam = to them; kalasham dadau = bestowed a handy vessel; mahaayashaaH kashchit = verily reputed saint, someone; prasannaH = lauding; valkalam dadau = contributed jute robe.
And someone, a pleased saint, got up and bestowed a handy vessel to them... another reputed sage, lauding them contributed a jute robe. [1-4-20]
अन्यः कृष्णाजिनमदाद्यज्ञसूत्रं तथापरः |
कश्चित्कमण्डलुं प्रादान्मौञ्जीमन्यो महामुनिः || १-४-२१
बृसीमन्यस्तदा प्रादात्कौपीनमपरो मुनिः |
ताभ्यां ददौ तदा हृष्टः कुठारमपरो मुनिः || १-४-२२
काषायमपरो वस्त्रं चिरमन्यो ददौ मुनिः |
जटाबन्धनमन्यस्तु काष्ठरज्जुं मुदान्वितः || १-४-२३
यज्ञभाण्डमृषिः कश्चित् काष्ठभारं तथापरः |
औदुम्बरीं बृसीमन्यः स्वस्ति केचित्तदावदन् || १-४-२४
आयुष्यमपरे प्राहुर्मुदा तत्र महर्षयः |
ददुश्चैवं वरान्सर्वे मुनयः सत्यवादिनः || १-४-२५
21-26. anyaH kR^iSNaajinam adaat = another sage bestowed black-deerskin; tathaa aparaH yaj~nasuutram = like that, another sacred thread; kashchit kamaNDalum praadaat = someone bestowed water-pot; anyaH mahaamuniH mau~njiim = another, great saint, girdle of maunja grass; brusiim anyaH tadaa praadaat kaupiinam = to tellers [to singes,] another, then, contributed, an under cloth; aparaH hR^iSTaH muniH taabhyaam dadau tadaa kuThaaram = another,gladdened saint contributed them a hatchet; aparaH muniH kaaSaayam vastram = another, sage, saffron, cloth; chiiram anyaH muniH dadau = cloth-wrapper, another, saint, bestowed; anyaH tu jaTaabandhanam = another, also, tuft-headband; aparaH mudaanvitaH kaaSTharajjum = another one, with enchantment wood-sticks, band; kashcit R^iSiH yaj~nabhaaNDam = someone, a sage, sacrificial vessel; kaaSThabhaaram tathaa aparaH = firewood sticks, then, another; audumbariim = plank of audumbarii tree wood; brusiim anyaH svasti = other called forth 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. [1-4-21-26]
आश्चर्यमिदमाख्यानं मुनिना सम्प्रकीर्तितम् |
परं कवीनामाधारं समाप्तं च यथाक्रमम् || १-४-२६
26. muninaa samprakiirtitam = well-said by sage Valmiki; idam aakhyanam = this, rendering; aashcharyam = surprising; param kaviinaam aadhaaram = tomorrow's, poets, subsistence; yathaakramam cha samaaptam = completed sequentially as well.
"Surprising is this well-said rendering of Valmiki... it is the subsistence for tomorrow's poets... and this is completed sequentially, as well... [1-4-26]
अभिगीतमिदं गीतं सर्वगीतेषु कोविदौ |
आयुष्यं पुष्टिजनकं सर्वश्रुतिमनोहरम् || १-४-२७
प्रशस्यमानौ सर्वत्र कदाचित्तत्र गायकौ |
रथ्यासु राजमार्गेषु ददर्श भरताग्रजः || १-४-२८
27-28. idam giitam = this, song; saayuSyam puSTijanakam = generates longevity and prosperity; sarvashrutimanoharam = melodious one to all ears; abhigiitam = well-sung; prashasyamaanau = those being appreciated; rathyaasu raajamaargeSu = in streets, in king's ways; sarvatra = everywhere; gaayakau = those that are singing; sarvagiiteSu kovidau = experts in every type of singing - Lava and Kusha; kadaachit tatra = at one time, there; dadarsha bharataagrajaH = 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. [1-4-27-28]
स्ववेश्म चानिय ततो भ्रातरौ स कुशीलवौ |
पूजयामास पूजार्हौ रामः शत्रुनिबर्हणः || १-४-२९
29. tataH = then; shatrunibarhaNaH = enemy eliminator; saH ramaH = he, that Rama; puujaarhau = worthy to be honoured; braatarau kushiilavau = two brothers (Kusha and Lava); svaveshma aaniiya = having fetched to his palace; puujayaamaasa = honoured them.
Then on seeing them Rama, the enemy-eliminator, fetched those honour-worthy bothers, Lava and Kusha, to his palace and honoured them. [1-4-29]
आसीनः काञ्चने दिव्ये स च सिंहासने प्रभुः |
उपोपविष्टैः सचिवैर्भ्रातृभिश्च समन्वितः || १-४-३०
30. saH prabhuH = he, that king Rama; upopaviSTaiH = sitting nearby; sachivaiH bhraatR^ibhiH cha samanvitaH = surrounded by ministers and brothers; divye kaa~nchane siMhaasane = 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. [1-4-30]
दृष्ट्वा तु रूपसम्पन्नौ विनीतौ भ्रातरावुभौ |
उवाच लक्ष्मणं रामः शत्रुघ्नं भरतं तथा || १-४-३१
31. raamaH = Rama; dR^iSTvaa = on seeing; ruupasampannou = rich in features; 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. [1-4-31]
विचित्रार्थपदं सम्यग्गायकौ समचोदयत् || १-४-३२
32. anayoH devavarchasoH = from them, divinely resplendent ones; vichitraarthapadam = 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. [1-4-32]
तौ चापि मधुरं रक्तं स्वञ्चितायतनिःस्वनम् |
तन्त्रीलयवदत्यर्थं विश्रुतार्थमगायताम् || १-४-३३
33. tau cha api madhuram = those two, even, melodiously; raktam sva~chitaayataniHsvanan = effectually, with clear and clarified voices; tantriilayavat = rhythmic like string-instrument; atyartham = very; vishrutaartham 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. [1-4-33]स्वञ्चितायतनिःस्वनम् - स्वञ्चितः सुतरां पूजितः आयतो दीर्घः निःस्वनः आलापो यस्मिन् |
ह्लादयत्सर्वगात्राणि मनांसि हृदयानि च |
श्रोत्राश्रयसुखं गेयं तद्बभौ जनसंसदि || १-४-३४
34. shrotraashrayasukham = bearing comfort for all ears; geyam = that song; janasamsadi = in people's gathering; sarvagaatraaNi = for all bodies [courtiers]; manaamsi hR^idayaani cha = minds, hearts, also; hlaadayat = enthralling,; tat babhau = that, shone forth.
Enthralling courtier's bodies, minds and hearts also, and thus that song shone forth as it is for all ears, bearing a comfort in its manifestation, among the gathering of the people. [1-4-34]
इमौ मुनी पार्थिवलक्षणान्वितौ
कुशीलवौ चैव महातपस्विनौ |
ममापि तद् भूतिकरं प्रचक्षते
महानुभावं चरितं निबोधत || १-४-३५
35. imau munii paarthivalakShaNaanvitau = these two, saints, possessing kingly features, ; kushiilavau cha eva mahaatapasvinau = thus great hermits like Kusha and Lava ; mama api tat bhuutikaram = to me, also, that, good fortune endowing; mahaanubhaavam charitam prachakShate = 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, aatmaprashamsaa 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 mahat ...
ततस्तु तौ रामवचःप्रचोदितावगायतां मार्गविधानसम्पदा |
स चापि रामः परिषद्गतः शनैर्बुभूषया सक्तमना बभूव || १-४-३६
36. tataH = then; tau = those two, Lava and Kusha; raamavacaH prachoditau = motivated by Rama's words; maargavidhaanasampadaa = well-versed in maarga system ; agaayataam = sang; pariShadgataH = available in congregation; saH raamaH api = he, that Rama, even; shanaiH bubhuuSayaa = again, to pacify his mind; saktamanaaH 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]
इति वाल्मीकिरामायणे आदिकाव्ये बालकाण्डे चतुर्थः सर्गः
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