srivalmikiramayanam -balakanda -sarga 1 -chapter 3rd and 4th

Sree MadValmiki Ramayanam

Sree Valmiki Ramayana

courtesy from

Sree Brahmasri Desiraju Hanumanta Rao ji

and  Sreeman Brahmasri K M K Murthy ji

 I Humbly bow to the  lotus feet of both of them

for the collection

Bala Kanda - Book Of Youthful Majesties

Chapter [Sarga] 3

Introduction

shrutvaa vastu samagram tat dharma ardha sahitam hitam |
vyak{}tam anveshhate bhuuyo yadvR^ittam tasya dhiimataH || 1-3-1

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

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]

Comment: Touching/sipping waters aachamana, pariSechana , before undertaking any auspicious work, including daily meal, is customary, because water cleanses the internal system, both mind and body.

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

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]

strii tR^itiiyena cha tathaa yat praaptam charataa vane |
satyasandhena raameNa tatsarvam cha anvavekshata || 1-3-5

Then, that which bechanced on truth-abiding Rama, while he is trekking in forests, with a lady being the third partner, where Lakshmana is the lone male aide, Valmiki visualized all that. [1-3-5]

tataH pashyati dharmaatmaa tat sarvam yogamaasthitaH |
puraa yat tatra ni.rvR^ittam paaNaava aamalakam yathaa || 1-3-6

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]

tat sarvam taattvato dR^ishTvaa dharmeNa sa mahaamatiH
abhiraamasya raamasya tat sarvam kartum udyataH || 1-3-7
kaamaartha guNa sa.nyuk{}tam dharmaartha guNa vistaram |
samudram iva ratnaaDhyam sarva shruti manoharam || 1-3-8

Discerning all of Ramayana in its actuality by his yogic prowess that highly intellectual Valmiki pioneered to author all of the legend of Rama, for Rama is a delighter of all in all worlds, and whose legend is abounding with the real functional qualities of earthly pleasures and prosperities, and which clearly elaborates the meaning of probity and its operative qualities, and thus this legend is like an ocean replete with such gems called thoughts, and an ear-pleasing legend, as well. [1-3-7-7-8]

Comment: The pleasures and gains of the humans are puruSaartha-s, in its axiological meaning. Hindus have four such puruSaartha -s [namely human values,] dharma probity artha prosperity, kaama pleasures, and finally moksha , blessedness. Of these four only the first three, dharma, artha, kaama are usually referred, and they are called tri-varga . The final one moksha is not often quoted. Dhrama is the driving force. chodanaa lakshaNaartho dharmaH - Jaimini. Hence dharma is the prescribed conduct, either by scriptures or by the society, and it does not entail any merit or demerit, but just an obligatory conduct or duty or, say 'categorical imperative' of Kant. And the other two, artha, kaama , are the means of dharma, and all leading to moksha. These two great epics Ramayana and Mahabharata are structured on these puruSaartha -s alone. Thus though Ramayana is abounding with the accounts of richness and glory of all kinds of wealth, which is secondary to human values, its main import is the virtuosity of human living. The ocean, though abounding with other less valuable items like conch shells, mother-of-pearl shells etc., its gems beneath all these peripherals are of high value. Thus this is an ear pleasing by its musical melody and heart pleasing by its meaningful wording. Further, it is pleasant for its import is in accordance with all the scriptures.

sa yathaa kathitam puurvam naaradena mahaatmanaa |
raghu va.nshasya charitam chakaara bhagavaan muniH || 1-3-9

That godly saint Valmiki composed the legend of Rama, the legatee of Raghu, exactly as the divine-soul Narada narrated it earlier. [1-3-9]

janma raamasya sumahad viiryam sarvaanukuulataam |
lokasya priyataam kshaantim saumyataam satya shiilataam || 1-3-10

The birth of Rama as an incarnation of Vishnu, his very great valour, his gracefulness to all, his universal cordiality, perseverance, courteousness, and his truthful conduct, Valmiki described them all. [1-3-10]

naanaa chitra kathaaH cha anyaaH vishvaamitra sahaayena |
jaanakyaaH cha vivaaham cha dhanuSaH cha vibhedanam ||1-3-11

Narrated are very many other amusing stories, Rama's breaking the great bow; his marriage with Janaki after with the help of Sage Vishvamitra... [1-3-11]

raama raama vivaadam cha guNaan daasharatheH tathaa |
tatha.abhishhekam raamasya kaikeyyaa dushhTa bhaavataam ||1-3-12

Dispute of Rama and Parashurama; the merits of Rama, the son of Dasharatha; and the preparations for anointing of Rama as crown prince; Queen Kaikeyi's vicious intentions... [1-3-12]

Comment: Rama is shrii raama one who delights in shrii , where shrii is Goddess Lakshmi. Where as Parashurama delights in his axe parashu axe; and Balarama, the brother of Krishna delights in his own bala might.

vighaatam cha abhishhekasya raaghavasya vivaasanam |
raaj~naH shokam vilaapam cha para lokasya cha aashrayam || 1-3-13

Disruption in royal unction of Raghava; his exile to forests; King Dasharatha's grief and bewailing, and thus his departing to other worlds... [1-3-13]

prakR^itiinaam vishhaadam cha prakR^itiinaam visarjanam |
nishhaada adhipa sa.nvaadam suutopaavartanam tathaa || 1-3-14

The grief of the subjects; Rama leaving them off; his conversing with tribal chief Guha; returning the charioteer Sumantra to kingdom from forests, leaving the trio at the banks of river Ganga... all these elements are well- described. [1-3-14]

ga~NgaayaaH cha api sa.ntaaram bharadvaajasya darshanam |
bharadvaaja abhyanuj~naat chitrakuuTasya darshanam || 1-3-15

Crossing over River Ganga; looking up Sage Bharadwaja; their look up at Chitrakuta on Sage Bharadwaja's advise... [1-3-15]

vaastu karma nivesham cha bharata agamanam tathaa |
prasaadanam cha raamasya pituH cha salila kriyaam || 1-3-16

Construction of a hermitage and dwelling therein; Bharata's arrival at that place for the graciousness of Rama to take back the kingdom; Rama's denial of it; Rama's offering water oblations to his father on hearing the demise of his father... [1-3-16]

paadukaa agrya abhishhekam cha nandi graama nivaasanam |
daNDakaaraNya gamanam viraadhasya vadham tathaa || 1-3-17

Enthroning shoe-sandals of Rama by Bharata; Bharata's living in a village Nandigrama; Rama's going to Dandaka forests; killing the demon named Viradha... [1-3-17]

darshanam sharabha~Ngasya sutiikshNena samaagamam |
anasuuyaa samaakhyaa cha a~Ngaraagsya cha arpaNam || 1-3-18

Rama's visit to Sage Sarabhanga and Suteekshna; their visiting hermitic lady Anasuuya, and her smooth speaking with Seetha and also her giving a body cream to Seetha...[by applying which cream Seetha will not wither away in the rough weather of woods. These details are incorporated with great care.] [1-3-18]

darshanam cha api agastyasya dhanuSo grahaNam tathaa |
shuurpaNakhaaH cha sa.mvaadam viruupakaraNam tathaa || 1-3-19

Also even Rama's seeing the Sage Agastya, and likewise taking a great bow from that sage... also the palaver of Surpanakha, the demoness, and defacing her, likewise... [1-3-19]

vadham kharaH trishirasaH utthaanam raavaNasya cha |
maariichasya vadham cha eva vaidehyaa haraNam tathaa || 1-3-20

The killing demons like Khara, Trishirasa and the upsurge of Ravana thereby, and also killing demon Mareecha, and Ravana's abduction of Vaidehi, likewise... [1-3-20]

raaghavasya vilaapam cha gR^idhra raaja nibarhaNam |
kabandha darshanam cha eva pampaayaaH cha api darshanam ||1-3-21

Raghava's anguish at the loss of Seetha; Ravana's slaying the mighty eagle Jatayu; Rama's seeing Kabandha, and also Lake Pampa...[1-3-21]

shabarii darshanam cha eva phala muula ashanam tathaa |
pralaapam cha eva pampaayam hanumad darshanam || 1-3-22

Rama's seeing Shabari, a hermetic lady and eating fruits and tubers given by her in utmost adoration; Rama's bemoaning for Seetha; his sighting Hanuma at Lake Pampa... [1-3-22]

R^ishhyamuukasya gamanam sugriiveNa samaagamam |
pratyayotpaadanam sakhyam vaali sugriiva vigraham || 1-3-23

Also going to Mt. Rishyamuka, meeting Sugreeva and generating confidence in Sugreeva, befriending him and the duel of Vali and Sugreeva... [1-3-23]

vaali pramathanam cha eva sugiiva pratipaadanam |
taaraa vilaapam samayam varshha raatra nivaasanam || 1-3-24

Also thus Vali's elimination and establishing Sugreeva on throne of monkey kingdom, grieving of Tara, the wife of Vali and empress of that kingdom, and as consented Rama's stopover during the days of rain... [1-3-24]

Comment: This raatri usually means night. But it includes day also. When saying triraatra, dasha raatra, in conducting rituals it includes daytime also. On the whole it is total rainy season that is admirably narrated in Kishkindha Kanda.

kopam raaghava si.mhasya balaanaam upasa.mgraham |
dishaH prasthaapanam cha eva pR^ithivyaaH cha nivedanam || 1-3-25

The wrath of Raghava, the lion, at the delay caused by Sugreeva, and Sugreeva's foregathering of all troops, and sending them to all quarters, and Sugreeva's description of earth's topography to monkey-troops... [1-3-25]

a~Nguliiyaka daanam cha R^ikshsya bila darshanam |
praayopaveshanam cha api sa.mpaateH cha api darshanam || 1-3-26

Rama's giving his ring to Hanuma as a token for Seetha's recognition... and the monkeys thus searching see Riskha cave, bear-cave, and their fasting unto death for their quest remained unsuccessful, and their seeing Sampaati, another mighty eagle and the brother of slain Jatayu, who guides the monkeys to the destination where Seetha is held capitive. [1-3-26]

parvata aarohaNam cha api saagarsya api la~Nghanam |
samudra vachanaat cha eva mainaakasya cha darshanam || 1-3-27

Hanuma's climbing Mt. Mahendra to leap over the ocean, and on the advice of the Ocean, Mt. Mainaka's coming up from under waters to give rest to Hanuma, and Hanuma's seeing that mountain are depicted. [1-3-27]

raakshasii tarjanam cha eva Chaayaa graahasya darshanam |
si.mhikaayaaH cha nidhanam la~Nkaa malaya darshanam || 1-3-28

Hanuma's killing the demoness Surasa, and his seeing of Simhika, a rapacious creature of gigantic origin, which captures its prey by the shadow, and Hanuma's killing that Simhika, and his seeing the mountain of Lanka, called Mt. Trikuta, on which the state of Lanka is built, Valmiki described them all. [1-3-28]

raatrau la.nkaa pravesham cha ekasya api vichi.ntanam |
aapaana bhuumi gamanam avarodhasya darshanam || 1-3-29

In night Hanuma's entry into Lanka, for being lonely his thinking over the course to search for Seetha, and his going to the liquor consumption place, and also his seeing the palace chambers of Ravana... [1-3-29]

darshanam raavaNasya api pushhpakasya cha darshanam |
ashoka vanikaayaanam siitaayaaH cha api darshanam || 1-3-30

Hanuma's seeing Ravana, and also his seeing Pushpaka, the divine aircraft, and in Ashoka gardens, his seeing Seetha also... [1-3-30]

abhij~nana pradaanam cha siitaayaaH cha api bhaaSaNam |
raakshasii tarjanam cha eva trijaTaa svapna darshanam || 1-3-31

Presenting his credential, the ring of Rama, to Seetha and his talk with Seeta, and also his witnessing the demonesses scaring Seetha to oblige Ravana, and his witnessing demoness Trijata narrating her bad dream, are all narrated in the epic.] [1-3-31]

maNi pradaanam siitaayaaH vR^iksha bha.mgam tatha eva cha |
raakshasii vidravam chaiva ki.nkaraaNaam nibarhaNam |1-3-32

Seetha's giving her bejeweled hairslide to be shown to Rama, Hanuma's uprooting of the trees of that beautiful Ashoka gardens, thereby the demonesses fleeing in scare, his killing the guards of that garden... [1-3-32]

grahaNam vaayu suunoshcha la.mkaa daaha abhigarjanam |
prati plavanam eva atha madhuunaam haraNam tathaa || 1-3-33

The capture of Hanuma, the son of Air-god, by the magical missile of Indrajit, son of Ravana, and also Hanuma's burning down Lanka, and his blaring at the demons, also his return flight from Lanka... and on his way back Hanuma's seeing a honey garden, and the appropriation of honey... [1-3-33]

raaghava aasvaasanam chaiva maNi niryaatanam tathaa |
sa.ngamam cha samudreNa nala setoH cha bandhanam || 1-3-34

Hanuma's action in presenting the jewel sent by Seetha solaces Raghava, and thus the meeting of Rama with the Ocean, and Nala's building the bridge on ocean... [1-3-34]

prataaram cha samudrasya raatrau la.mkaa avarodhanam |
vibhiishhaNena sa.nsargam vadhopaaya nivedanam || 1-3-35

Crossing over the ocean by the boulder bridge built by Nala, and seizure of Lanka in night, and Vibheeshana, the younger brother of Ravana, whom Ravana banished, comes to meet Rama, and his telling the scheme to kill Ravana to Rama... [1-3-35]

kumbhakarNasya nidhanam meghanaada nibarhaNam |
raavaNasya vinaasham cha siitaavaaptim areH pure || 1-3-36

Destruction of Kumbhakarna, another brother of Ravana, and the elimination of Meghanatha, the valiant fighter and son of Ravana, and the annihilation of Ravana, and also retrieval of Seetha in enemy's city, [which is a kind of disgrace to Rama and a successive event follows thereon,] all these are narrated in the epic. [1-3-36]

vibhiishhaNa abhishhekam cha pushhpakasya cha darshanam |
ayodhyaayaaH cha gamanam bharadvaaja samaagamam || 1-3-37

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]

preSaNam vaayu putrasya bharatena samaagamam |
raama abhishheka abhyudayam sarva sainya visarjanam |
sva raashhTra ra.njanam cha eva vaidehyaaH cha visarjanam || 1-3-38

Sending Hanuma to meet Bharata, for he avowed to self-immolate if Rama were not to come in time; the coronation festival of Rama; disbandment of all military troops of monkeys; Rama's ruling his kingdom to the delight of his subjects, and the desolation of Vaidehi too... are described by Valmiki. [1-3-38]

anaagatam cha yat ki.nchid raamasya vasudhaa tale |
tat chakaara uttare kaavye vaalmiikiH bhagavaan R^ishhiH || 1-3-39

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]

Comment: In this verse, some take the word uttare as Uttara Ramayana, the events occurring after his crowning, Seetha's departure to forest, birth of Lava and Kusha, the sons of Rama and a battle between father and sons etc., are ascribed to Valmiki. But to some commentators, as per the format of this chapter, which surveys what Valmiki has scheduled to write, it is unacceptable since the word uttare occurs for only one occasion, hence cannot mean next canto. Thus, they say, Uttara Ramayana cannot be ascribed to Valmiki. Hence the word uttare here is taken to mean henceforth, hereinafter of the epic.

iti vaalmiiki raamaayaNe aadi kaavtye baala kaaNde tR^itiiyaH sargaH

Thus, this is the 3rd chapter in Bala Kanda of Valmiki Ramayana, the First Epic poem of India.

Bala Kanda - Book Of Youthful Majesties

Chapter [Sarga] 4

Introduction

 

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

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

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 vi��ati sa�khyo ukty� catur vi��ati ak�ara g�yatr� tulyat� s�citam | prathama adhy�ye - tapa� sv�dhy�ya - ityatra prathamam ta k�rasya - sargapr�nte -  iti etasmin padye - mahatva m�y�t -- ityatra y�t - iti ak�arasya graha�t api gayatr� 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

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

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

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

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

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

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

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

.

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

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

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

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 |

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 || 1-4-15
saadhu saadhviti taa uuchuH param vismayam aagataaH |

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 |

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 || 1-4-17
chiranirvR^ittam api etat pratyaksham iva darshitam |

"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 || 1-4-18
sahitau madhuram raktam sa.npannam svara sa.mpadaa |

"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 || 1-4-19
sa.nraktataram atyartham madhuram tau agaayataam |

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 || 1-4-20
prasanno valkalam kashchid dadau taabhyaam mahaayashaaH |

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 || 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 |

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 || 1-4-26
param kaviinaam aadhaaram samaaptam cha yathaa kramam |

"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 |

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 || 1-4-29
puujayaamaasa puja arhau raamaH shatrunibarhaNaH |

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 || 1-4-30
upopaviSTaiH sachivaiH bhraatR^ibhiH cha samanvita |

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 || 1-4-31
uvaacha lakshmaNam raamaH shatrughnam bharatam tathaa |

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 |

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 || 1-4-33
tan.htrii layavat atyartham vishrutaartham agaayataam |

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

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

"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

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.