shrutvaa vastu samagram tat dharma ardha sahitam hitam |
vyak{}tam anveshhate bhuuyo yadvR^ittam tasya dhiimataH || 1-3-1
1. dharmaatmaa= virtue-souled one, Valmiki; dharma artha sahitam= probity, prosperity, abounding in; hitam= propitious one [too]; tat= that; vastu samagram= essence of the epic, in its entirety; shrutvaa = on hearing; = tasya dhiimataH vR^ittam= of that, dexterous [Rama’s,] that which has happened; yat= that which is there; [tat= that]; vyaktam bhuuyaH anveSate = that which is known [in detail,] further, searched for.
On hearing the essence of Ramayana from Sage Narada, which is abound with probity and prosperity, and a propitious one too, that virtue-souled Valmiki started searching for further known details in the legend of that dexterous Rama. [1-3-1]
upaspR^isya udakam samyak muniH sthitvaa kR^itaa~njaliH |
praachiina agreshhu darbheshhu dharmeNa anveshhate gatim || 1-3-2
2. muniH= that saint; praachiina agreSu = eastward, having apices; darbheSu= sacred darbha grass [and its mat]; sthitvaa= on abiding, on sitting; udakam upaspR^ishya= water, on touching; kR^ita a~njali= making palm fold in reverence; dharmeNa= yogaja dharmeNa – [dharmaakuutam]= by yogic dharma; samyak= comprehensively; anveSate gatim= is searching, for course [of Ramayana.]
Valmiki sitting on a sacred grass mat, whose apices are towards east, touched waters, and made his palms adjoined in reverence, and then by his yogic insight started to search comprehensively, for the narrative course of Ramayana. [1-3-2]
raama lakshmaNa siitaabhiH raaj~naa dasharathena cha |
sa bhaaryeNa sa raashhTreNa yat praaptam tatra tattvataH || 1-3-3
hasitam bhaashhitam cha eva gatiryaayat cha cheshhTitam |
tat sarvam dharma viiryeNa yathaavat sa.mprapashyati || 1-3-4
3-4. raama lakshmaNa siitaabhiH= of Rama, Lakshmana and Seetha; raaj~naa dasharathena ca= by king, Dasharatha, also; sa bhaaryeNa [raameNa]= along with, wife – Rama along with his wife; sa raaSTreNa= along with, kingdom – when Rama was in State; yat praaptam= what, bechanced; tatra [yaa] gatiH= in that, [which,] course is there; yaavat ceSTitam ca= everything, [they] have done, and; hasitam bhaaSitam ca eva= their smiles, their conversations, also, thus; tat sarvam= that, entirely; tatvataH= veritably; yathaavat= as it is; dharma viiryeNa= by the power of his ascesis, or by the power given by Brahma; sam pra pashyati= wholly, clearly, seen.
Of Rama, Lakshmana and Seetha, also of King Dasharatha and his wives, and what bechanced on Rama when he was in kingdom Ayodhya; Valmiki veritably discerned all that. Their smiles, their conversations, their deeds and the succession of events as well, all of them the sage saw wholly and clearly by the yogic power conferred by Brahma…] [1-3-3-4]
ataH pashyati dharmaatmaa tat sarvam yogamaasthitaH |
puraa yat tatra ni.rvR^ittam paaNaava aamalakam yathaa || 1-3-6
6. tataH= then; dharmaatmaa= virtue-souled sage; yogam aasthitaH= while in yogic, exaltation; tatra= in there [in story]; puraa yat nirvR^ittam= earlier, what, has happened; tat sarvam = that, all; paaNau amalakam= in palm, citric fruit [myrobalan]; yathaa= as though; pashyati= saw.
Then that virtue-souled sage saw what all that has happened earlier, by his yogic exaltation, as though it is a citric fruit in his own palm. [1-3-6]
vibhiishhaNa abhishhekam cha pushhpakasya cha darshanam |
ayodhyaayaaH cha gamanam bharadvaaja samaagamam || 1-3-37
37. vibhiiSaNa abhishhekam cha= Vibheeshana’s, crowning; puSpakasya ca darshanam= Pushpaka, aircraft, seeing it; ayodhyaayaaH ca gamanam= to Ayodhya, also, going; bharadvaaja samaagamam= Sage Bharadvaja, meting with.
Crowning of Vibheeshana as the king of Lanka, after the demise of Ravana, and also Rama’s seeing Pushpaka, the divine aircraft, and returning to Ayodhya in that aircraft… and Rama’s meeting Sage Bharadvaja on his way back… [1-3-37]
anaagatam cha yat ki.nchid raamasya vasudhaa tale |
tat chakaara uttare kaavye vaalmiikiH bhagavaan R^ishhiH || 1-3-39
39. bhagavaan vaalmikiH R^iSiH= godly, Valmiki, the sage; raamasya yat kimchit= of Rama, whatever, minutely; vasudhaa tale= on earth’s, surface; anaagatam ca = futuristic, also; tat= that; uttare= in later [parts of, coming chapters]; kaavye= of epic; chakaara= composed.
The godly sage Valmiki composed the futuristic legend of Rama while on the surface of earth, and whatever that is there, that is composed in all its minuteness, in the coming chapters of this epic. [1-3-39]
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]
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…
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 indhiimahi 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.
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]
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 [2] madhyama [3] gaandhara [4] niSaada [5] R^iSabha [6] dhaitava [7] 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
pravishya taa ubhau suSThu tathaa bhaavam agaayataam || 1-4-18
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]
anyaH kR^iSNaajinam adad yaj~na suutram tathaa aparaH || 1-4-21
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]
sva veshma cha aaniiya tato bhraatarau sa kushii lavau || 1-4-29
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]
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]
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]
Sri Sita Rama Jayam.
Aalvaar Emberumaanaar Jeeyar Thiruvadikale Saranam .
Leave a Reply