Sree MadValmiki Ramayanam
( Translation and Commentary by Scholar,
Sreeman Brahmasree Desiraju Hanumantharao ji
and Sreeman Brahmasree K M K Murthy ji )
Sree MadValmiki Ramayanam
Sree Valmiki
Ramayana
Prose
Valmiki Ramayana - Bala Kanda in Prose
Sarga / chapter 1
Divine sage Narada arrives at the hermitage of Sage Valmiki in order to enlighten him and keep him informed of his duty to author the epic poem Ramayana. In the dialogue between these two sages, Valmiki elicits from Narada about most virtuous person on earth, namely Rama. In this opening chapter, while eulogizing Rama Narada gives an outline of Ramayana, truly highlighting those aspects that are the keynotes in this epic, like virtuosity, generosity, morality, chastity and the like. Divine sage Narada arrives at the hermitage of Sage Valmiki in order to enlighten him and keep him informed of his duty to author the epic poem Ramayana. In the dialogue between these two sages, Valmiki elicits from Narada about most virtuous person on earth, namely Rama. In this opening chapter, while eulogizing Rama Narada gives an outline of Ramayana, truly highlighting those aspects that are the keynotes in this epic, like virtuosity, generosity, morality, chastity and the like.
Valmiki Ramayana is said to have been composed basing on each of the twenty-four letters of Gayatri Hymn, and a thousand verses are arranged into one book under the caption of each letter. Though that classification, or dividing verses into thousand chapters is unavailable now, the twenty-four verses identified with the 24 letters of Gayatri hymn, called as Gayatri Ramayana, is available and it is given in the endnote of this page. In tune with the scheme of Gayatri, Ramayana starts the first verse with letter ta an auspicious letter.
A thoughtful-meditator, an eternally studious sage in scriptures about the Truth and Untruth, a sagacious thinker, and a sublime enunciator among all expert enunciators is Narada, and with such a Divine Sage Narada, the Sage-Poet Valmiki is inquisitively enquiring about a man who is a composite for all merited endowments in his form and calibre.
The very opening word tapaH has diverse meanings. In a way it means j~naana acuity, and it is 'thinking' tap aalocane 'thinking on the Absolute, where that Absolute's thinking itself is tapaH - yasya j~naanam tapaH thus Narada is one who is a constant thinker of the Absolute. Or, he who always practises kR^icChrandraaayaNaadi vrataH - nitya naimittika karma anuSTHaana paraH the rigorous practises enshrined in Veda-s. It means the Absolute itself tapaH para brahma shabda vaca, brahmai tad upaastvai tat tapaH 'that which is contemplated upon that is tapaH, meaning Vedanta , Upanishads. Let many Veda-s are learnt and recited mechanically it becomes a rote learning, unless, a thought is given as for what it is being recited, an on whom. Thus Narada has no rote learning, but still trying to get full picture of that Absolute. And the swaadhyaya is Veda, and its regular practise, tapo hi svaadhyaayaH. Veda itself is the Knowledge, that is why it is said svadhyaan na pramiditavyam - taittariiya upaniSad Then, it also means as the Absolute. Thus Narada being a complete embodiment of Veda-s, is the proper sage to clear the doubts of Valmiki
The Divine Sage Narada is the brainchild of god Brahma brahma maanasa putra. His name has meanings like naara =knowledge; da= awarder; naarada= the rain cloud. Any cloud rains on its own without any requisition from Mother Earth. So Narada is naaram dadaati iti naarada 'one who accords knowledge concerning the humans...' or, naaram dyati - khaNdati - iti naarada 'one who annihilates the ignorance...' or, 'one who accords knowledge about the Absolute, or Supreme Person. Though a Divine Sage, having all these attributes, Narada has no conclusive information about hari liilaa vibhuuti 'Supreme Person's playful acts...' hence he continuously and constantly ponders over that Absolute to get the real essence of that Absolute, or Supreme Person. This is for himself, and not in respect of his reacting with others.
Then this word vaak means: enunciator - as given above; This word also means Veda - anaadi nidhano hi eSaa vaak utshR^iSTaa Veda-s emerged from that Absolute, hence vaak is identifiable with that Absolute; and this is grammar - vaak yoga viddduSyati ca apashabde as such vaak is identifiable with grammar. And vaak vid vareNya is 'one who has complete information derived from Veda-s, or, one who elucidates and enunciates what he has learned from Veda-s to others...'
There are four epithets of Narada here: atha n˜radasya catv˜ri viþeÿaõ˜ni | tath˜ - tapo nirati - iti anena viþeÿaõena sarva s˜marthyam pratip˜ditam | sva adhy˜ya nirata - iti anena yat kiñcit vadati tat veda ukta dharma anuguõatay˜ eva vadati iti s¨citam | v˜k vid˜m vara - anena vakt®tvaÕ pratip˜ditam | muni pungava - iti anena atŸndriya abhijñatvam s¨citam | agre tri loka jña iti anena viþeÿaõena loka traya sañc˜reõa pratyakÿatay˜ sat asat vastu abhisañjñatvaÕ pratip˜ditam | etai viþeÿaõai× - sarvajñatvam - sarva jana m˜nyatvam - sarva utk®ÿ÷a mah˜tmyam - ca s¨citam | t˜d®þam n˜radam bhagav˜n v˜lmŸki× sarva guõa samiÿ÷i r¨pam pururaÿam - pap®ccha - dharm˜k¨tam
'By these four epithets of Narada, viz., tapo nirata because he is a 'thoughtful-thinker evermore...' his all-expertise in knowledge is proposed... svaadhyaaya nirata because he is 'eternally studious sage in scriptures [about the Truth and Untruth...'] whatever the least he says it abides by the everlasting canonical sayings of Veda... vaak vidaam vara because his sayings are rooted in canons he is the best enunciator and elucidator... muni pungava because he is such a sublime sage he is transcendental... and as a traveller among all the three worlds he is aware of Truth and Untruth... and with such Sage Narada, Sage Valmiki enquired about a man, on earth, who is a composite in his form, for all merited endowments...' Dharmaakuutam. This commentary is by Tryambakaraaya Makhi [1690's to 1728] and this can be called not just yet another commentary on Ramayana, but an Encyclopaedia of Indian Culture. This was published under the scheme of 'Editing and Publication if Rare Manuscripts, Govt. of India, Ministry of Scientific Research and Cultural Affairs' and it is available with Tanjore Saraswati Mahal Library, Tanjavore, Tamil Nadu State, India.
There are numerous and voluminous commentaries on Ramayana, bulkier than the epic itself, deciphering latent meanings of Ramayana as above. And to list a few of many commentaries on Ramayana: 1] kataka vyaakhya, by shrii katata; 2] raamayaNa tilakam - raamaabhiraamii : by shrii naagojii bhaTT; 3] raamaayaNa bhuuSaNam by shrii govindaraja; 4] raamaayaNa shiromaNi by shrii shivasahaaya; 5] raamaayaNa tattva diipika by shrii maheshvara tiirtha; 6] raamaayaNa vyaakhya shrii raamaanujaacaarya; 7] viveka tilaka by shrii varadaraaja; dharmaakuutam tryambakaraaya makhii; raamaayaNa kuuTa vyaakhya by shrii raamaananda tiirtha... and many, many more... Hence due to paucity of time we confine ourselves to some references from some of the above, as it will be uncouth to go on dwelling one these intricate derivation obtained by these great commentators.
This stanza equally applies to Sage Valmiki, the taught, by way of the use of words tapaH, svaadhyaaya, tapasvii, thus both of them are experts in their own sphere of teacher-student relationship. The word tapaH denotes Veda-s themselves, in which both the Sages are well-versed, svaadhyaaya means, pondering over what that is learnt, i.e. japa. tapasvii= sharanaagati Total renunciation of their selves in the Almighty. Routine recitation of Veda-s will become futile if an iota of inclination in the Almighty and self-surrender to that Almighty is not there. tasm˜nnye˜sam eÿ˜m tapasam atiriktam ˜hu× - taittatrŸya n˜r˜yaõam - 20 Hence, these two sages have commenced to deliver Ramayana, which itself is the epic of virtuous living, to this world.
That being so, Valmiki is asking the same Narada as to who is Absolute-like, Absolute-similar or comparable human, with some of many traits of that Absolute. For this, Narada starts his narration with an exclamation bahavo durlabhaa ca guNaaH kiirtitaa at seventh verse. Thus, there are bulky and voluminous commentaries on Ramayana, bulkier than the epic itself, hence due to paucity of time, and in eagerness to post the main epic firstly, let us take a pause in these declinations and niceties of verbiage, as it will be uncouth to go on dwelling on these intricate derivation at that staring itself.
However, the epic starts with the word auspicious word ta as said in ta kaaro vighna naashakaH, ta kaaro saukhya daayakaH...
.
"Who really is that person in this present world, who is principled and also a potential one, a conscientious one, a redeemer, and also a truth-teller and self-determined in his deed...
In Sanskrit poems the poets are at liberty to use words at any place according to exigencies of their metric rules. So, the order of words used by the poet called pada vibhaaga , in this poem is like this
kaH nu asmin saampratam loke guNavaan kaH ca viiryavaan dharma j~naH ca kR^ita j~naH ca satya vaakyaH dhR^iDha vrataH
We have not shown this division of words for all verses in a separate paragraph, but separated them in the verse itself, [even if it gives a low-brow reading,] for fear of repetitive work.
These very words are to be reconnected by readers to derive a particular meaning called anvyaya krama. By this process the words in this second verse will be connected like this:
asmin loke saamprataam guNavaan kaH nu viiryaaan ca kaH dharmaj~naH ca kR^ita j~naH ca satya vaakyaH dR^iDha vrataH [ellipted: kaH]
Same words available in the verse but with changed placement. All the verses are provided with word-to-word meanings in anvya krama, i.e., words parsed according to Sanskrit way of reading and then meanings are given.
Further, we tried to give meanings in verse-by-verse in order to tell each on its own. But at times, the meaning rolls into next foots. Then it is inevitable to push and pull the feet of verses, up or down, to give a meaningful paragraph. Some of our readers are a little confused about this arrangement. Hence we request you to go by the verse numbers in such places, and there will be many such pulls and pushes as we go along.
The meter filling words like tu, hi ca, sma, ha, vai: paada puuraNe - amara kosha do not usually mean anything and they fit-in as meter fillers, hence will be dropped in word-to-word meanings. But if they are used specifically, they play havoc in rendering meaning. Here the word dharmaj~na is used, which means, 'knower of rightness...' but when coupled with ca it means 'also, the knower of wrongness... ' where the ca assumes the character of 'either...' and the use of numerous ca-s here in these questions of Valmiki, is to denote that every questioned merit plusses itself into one human being. We are showing all the ca-s and tu-s throughout, giving their meaning as 'also...' and they may be dropped, if need be, in the gist of verse.
"Who is he conduct-wise blent with good-conduct... who in respect of all beings is benign... who is adept and also the ablest one... also uniquely good to look to...
The adeptness of that person is in his knowing all the knowable aspects in this world, and he must be able to retain that knowledge to translate into his deeds, not just to sit back with his bookish knowledge, but with utmost practicality. His conduct-wise character shall be acceptable i.e., by his lineage he shall be noble, by his education he must be well-read, by his actions they must be conducive to norms laid down in Veda-s, and thus given any area, he should conduct himself properly. And he must be benign not only to higher-ups but to lowly subjects, like Guha, Shabari et al., and he should deal with wrongdoers and right-doers conscientiously. Further, he in his mien he shall be pleasant, but not an unsightly one. The word eka also means 'unique' and thus his complexion, facial, physical structures etc., shall be unique and shall differ from ordinary beings. kÿaõe kÿaõe yat navat˜m upaiti tadeva r¨pam ramaõŸyat˜y˜× 'which / what / who gets newness moment by moment, that alone is pleasant...'
"Who is that courageous one, who controlled his ire, who is brilliant, non-jealous and even whom do the gods fear, when provoked to war...
Here the word aatma is not the usual 'soul' but courage aatmaa jive dhR^itau dehe svabhaave paramaatmani - amara kosha and the word krodha is taken as the nominative of other six negative attitudes ari SaT varga upalakshaNa - kaama, krodha, lobha, moha, mada, maatsarya 'desire, ire, avarice, fancy, defiance, conceit...' and by the coupling of word ca with devaaH in devaaH ca it means that, 'not only the enemies like demons and others... but 'also' the friendly gods too are afraid of his ire...' The 'non-jealous nature' is the 'God's tolerance of disloyalty...' and 'unlike the heavenly gods like Indra and others, who will be intolerant of disloyalty...' this man in question shall be tolerant of disloyal persons, subjects, or demons and shall be intolerant of them who go against the established tradition.
"All this I wish to listen from you, oh! Great Sage, as you are a mastermind to know this kind of man, and indeed my inquisitiveness is immense..." Thus Valmiki enquired with Narada.
Valmiki wanted to know about that man - a man with godly qualities. Valmiki's thinking aloud, about the qualities of his prospective hero of this epic, is the very opening questions put to an Omniscient Sage Narada. Both the sages know of Rama and his deeds. Even then Valmiki asks Narada, "who is that man with godly qualities?' If Narada tells that Rama is Vishnu Himself, there is nothing left for Valmiki to compose his epic, because there are numerous mythologies, puraaNa-s, that have already adored God Vishnu. If Narada tells that Rama is so-and-so king, again Valmiki need not attempt to author about some king, however great that king might be. As such, Valmiki wanted to know about a human being with godly attributes, because many acts of Rama, like killing Vali, testing Seetha's chastity, deserting her at the end etc. are both conducive and contradictory puzzles.
The attributes of the hero of Ramayana, as required by Valmiki, are 16 sixteen in number. 1 - guõav˜n 2 - viryav˜n 3 - dharmajña× 4 - k®tajña× 5 - satya v˜kya× 6 - dh®ýha vrata× 7 - c˜ritra v˜n 8 - sarva bh¨teÿu hita× 9 - vidv˜n 10 - samartha× - 11 - priyadarþana 12 - ˜tmav˜n 13 - jita krodha× 14 - dyutim˜n 15 - anas¨yaka× 16 - bibhyatidev˜× These sixteen attributes are attributed to the sixteen phases of the Full Moon, and Valmiki is about to picture Rama to be as pleasant as a full-moon.
On listening all those words of Valmiki, the preceptor of all the three worlds, Sage Narada, said "let it be heard..." and beckoning at Sage Valmiki to listen attentively, he spoke these words very gladly.
The preceptor of three worlds, where the three worlds are bhuu loka, bhuvar loka, suvar loka this world, the intermediary heaven, the heavens themselves.
"Oh! Sage Valmiki, the merits which you have extolled are many, and unattainable even for great emperors, let alone ordinary humans, and also infinite are they... but, about such a man with such merits I will speak on... for I, having known from Brahma of such a man, will make clear about that man..." Thus Narada started to say.
Narada came hither to impart the legend of Rama, as Brahma already imparted the same to him, and wanted him to impart these very attributes to Valmiki to compose Ramayana. It is a coincidence of interests Valmiki and those of Narada and Brahma.
"One emerged from Ikshvaku dynasty and known to people as Rama by his name, and he is conscientious, highly valorous, resplendent, steadfast and a controller of vice and vile... and his own senses, as well...
For the attributes explained by Narada there are some Vedanta imports. From niya aatma to vashii these are the attributes of the Supreme Being, Absolute of Brahman. swaruupa nirupaka lakshNaaH . This niyata aatmaa is 'immutable Absolute, this is the postulate of any Upanishad: ya aatmaa apahata paapmaa virajo vimR^ityur vishoko... 8-7-1, Chaandogya Upanishad. mahaa viiryaH = acintya vividha vicitra shaktivataH Absolute is Omnicompetent paraa asya shaktiH vividhaa iva shruuyate svaabhaavikii j~naana bala kriyaa ca 6-8, Shwetaashvatara Upanishad. The word dyutimaan is for the attribute of Self-Resplendent Absolute, or, Resplendence of Consciousness. tam eva bhaantam anubhaati sarvam tasya bhaasaa sarvam idam bhaati 2-11, Mundaka Upanishad. And the dhR^ithimaan is Sublime Bliss, according to Vyjanti dhR^itiH tu tuSTiH santoSaH and as said in aanando brahama - aanandaat eva khalu imaani bhuutaani jaayante 6, Taittariiya Upanishad. Next, vashii Absolute is the Omnipotent on the entire Universe. eko vahii sarva bhuuta antaraatmaa 2-5-12, Katha Upanishad and sarvasya vashii sarvasya iishaanaH and the like. The rest of the attributes of Rama as said by Narada are identifiable with the causative factors of that Absolute in Creation, and the process of Creation is the self-expression of the Absolute.
"He is an adept one, moralist, learned, propitious, and a destroyer of enemies. His arms are lengthy, and his neck is like a conch-shell, and cheekbones high...
The Absolute is an adept one in creating the Creation yat sarvaj~naH sarva vit. He is niitimaan one who maintains the rhythm of universe as said at eSa setuH vidharaNa eSaam loka naama sambhedaaya... He is propitious because shriiH kaanti sampadoH lakshmyaam... gleaming, glistering richness of prosperity emanates from him. The following stanzas describe the physical qualities an Emperor should have by birth, as per saamudrika shaastra, the physiognomic treatise of astrology.
"He is lion-chested, thick-shouldered, knee-length are his arms, and his is longbow, an enemy-subjugator, and his emperor's countenance is with a crowning-head with an ample forehead, and his pacing is lion-like...
When his physique is extolled, suddenly a weapon is said, in saying that 'his is longbow...' this is called prakrama bhanga doSa 'jump-cut in narration...' It is not so, his lengthy arms are said firstly and those arms can wield a great bow that can eliminate enemies, both physical and psychological ones like ariSaD varga shatru like desire, ire, avarice, conceit etc., as detailed in verse 4 above.
"He is medium-sized physically, with limbs poised symmetrically, sinew-chested, wide-eyed, complexioned glossily... he is a prosperous personality with all the providential features, and thus he is self-resplendent...
Up to here the godly physical aspect bhagavad vigraha is explained that which is perceptible by the adherents as said in Chaandogya Upanishad: ya eSo antaraaditye hiraNmayaH puruSo DR^ishyate... 1-6-6. From now on, the features that are reliable for the adherers are said.
"He is the knower of rectitude, bidden by the truth, also his concern is in the welfare of subjects, proficient in prudence, clean in his conduct, self-controlled and a diligent one, thus he is glorious...
Here to the compound satya sandhaH ca 'ca' is added, but here it means nothing special but to plus the features into one man. At such places this can be dropped.
"He equals the Omniscient, he is an exalted one for he is the sustainer of all worlds, and he eliminates enemies completely, thus he is a guardian of all living beings and he guards probity, in its entirety...
'These features show the aspects of Rama's incarnation...' Govindaraja. 'These features are available only in the Supreme Person, but unobtainable in any other...' Maheshvara Tiirtha. These two, Govindaraja and Maheshvara Tiirtha, and another Tilaka are the three reputed commentators on Ramayana among many others.
"He is the champion of his own self-righteousness and also champions for adherent's welfare in the same righteousness, and he is a scholar in the essence of Veda-s and their ancillaries, too. He is an expert in dhanur Veda, the Art of Archery...
These are the ancillary subjects of Vedas called anga part and upa anga sub-part. The main parts of Veda-s are siksha ritual rigor vyakarana grammar chandas prosody jyotish astrology nirukta recital rules kalpa procedure rules. This apart, the dhanur veda science of archery, itself is treated as 'an exclusive Veda taught to warriors...' The danur Veda is not to be construed as simple bow and arrow and 'shooting the target' education. It is a 'scripture on missiles' that existed in those ages.
Down the memory lane, O. A.Vijayan, the eminent Indian journalist has reflected in The Illustrated Weekly of India, that the Soviet scholar Dr. A. A. Gorbovsky said in his article with heading Ancient India may have had N-arms , in the Statesman, with dateline Moscow, Sept. 8, 1986. Among other things, the scientist observes by the stanzas that describe the disaster caused by such astra-s, now loosely termed as a well crafted bow and sky rocketing arrows, as below:
'A blazing shaft which possessed all the effulgence of smokeless fire was let off... all directions were enveloped by darkness... the very elements seemed to be perturbed... the sun seemed to turn... the universe, scorched with heat, seemed to be in fever... the survivors lost their hair and nails... for years the sun and sky remained shrouded with clouds...'
Thus the narration goes on. This is the account of Brahma astra, as in Maha Bharata, the other Epic of India. Thus the Dhanur Veda may be taken as the canon of missile sciences, which fortunately has not been handed over to the successive generations, lest everything would have been annihilated by now. In Ramayana too, which is much earlier to Mahabharata, there are elaborate accounts of such astra-s in the coming chapters. Sage Vishvamitra, who is well-versed in warfare, gives many such weapons to Rama. For now, these bow and arrow references may not be taken as those of Robin Hood.
"He is the knower of the meaning and essence of all the scriptures, excellent at memory thus brilliant, and an esteemed one in all the worlds, gentle, level-headed and clear-headed in discriminating and distinguishing...
"Like an ocean that is reached by many rivers accesbly, that reverential one too is always accessible and reachable by clean-minded ones, and he treats all equally, and ever a feast to eye...
Here it is said 'he is reachable by all clean-minded ones...' sat pravartana, sad budhhi... and those that approach him with a sacrilegious intent, will meet their end at his hand. sarva samaH means, that he does not discriminate people by their caste, creed, or by that individual's philosophy etc., like tribal boatman Guha, low-birthed Shabari, and nihilist Sage Jaabaali et al. jaati guNa vR^itti aadi bheda a+bhaavaat And the word eva in saa eva priya darshanaH indicates 'always...' 'unvarying in his demeanour with anyone...' Govindaraja. And by the simile of ocean to Rama, for rivers there is no other course except an ocean; thus, the living beings, may it be humans or birds like Jataayu, have no other recourse than Rama.
"He who betters the happiness of his mother Kausalya is an embodiment of all noble merits, and in profundity he is like an unfathomable ocean, and by fortitude he is unalterable like the kingly Himalayan mountain...
At times Rama is said to be 'the son of Kausalya...' than the son Dasharatha, because the word Kausalya does not signify his mother alone, the daughter of King of Kosala, but it has meanings like kshema, kushala, saamarthya, puNya, nipuNatva 'safeness, soundness, capability, merit, expertise...' and this also signifies Queen Kausalya's worshipping of Vishnu. When dynasty, valour, braveness etc., are said, Rama's name will be attached with Dasharatha. An ocean is not a bottomless one but an unfathomable one. So also Rama's heart has a reachable bottom, where pearls, gems, and other treasures of virtues are abounding, and it can be reached with a heartily approach. For a hard-hearted one Rama's heart becomes an unfathomable abyss and he will get lost in it. girayo× varÿa dh˜r˜bhir haryam˜n˜ na vivyadhu× | abhibh¨ya m˜n˜ vyasanai× yath˜ adhokÿaja cetas˜ || 'true devotees do not get hassled though subjected to many problems, for they place their faith in the Supreme. Equally, mountains are unshaken though battered by storms or lightings...' So, like a mountain he is unalterable and constant for a true devotee. An icy-mountain is meltable by scorching sun, thus Rama also melts down when his adherents are scorched with their problems.
"In valour Rama is comparable with Vishnu, and in his looks he is attractive like full-moon, he equals the earth in his perseverance, but he is matchable with era-end-fire in his wrath... and in benevolence he is identical to Kubera, God of Wealth-Management, and in his candour he is like Dharma itself, the other God Probity on earth...
Here the 'valour' is to cause harm to enemy, while remaining himself unharmed... svasya a-vikaara eva parasya vikaara aapadanam Rama Tilaka. 'Though Rama is Vishnu, but by nature of his incarnation as human, he is different from Vishnu upaadhi bheda... Hence Vishnu has become another entity than Rama... Or, his valour is selfsame to Vishnu's valour because he is selfsame Vishnu...' Govindaraja. 'As there is none other in similitude, he is compared Vishnu, insofar as valour is concerned...' Maheshvara Tiirtha. Earth personally does not grieve when people tread on it, trample, dig, cut, or whatever is done to her. Likewise Rama personally gets unaffected, whatever harm is done to him, but he becomes wrathful, if that harm is committed to dharma.
Thitherto, the Bala Kanda is narrated by these narrations of sparkled in Ikshvaku dynasty 'Rama's incarnation...' highly valorous, enemy subjugator... 'elimination of demoness Tataka, subdual of the vanity of Parashu Rama...' propitious 'marriage with Seetha, knows Art of Archery 'receiving missiles from Vishvamitra...' From now poet tells the Ayodhya Kanda, and a gist of this magnum opus is given here itself. This narration is known as baala raamayana - samskhepa raamyana meaning that it is aimed at youngsters as it has been told in an abridged version. In the endnote, details about this version and still abridged version, called Gayatri Ramayana, are given.
Readers may find an inordinate use of ellipses in translation of the epic. But they are 'a must.' Pt. Satya Vrat, the author of Ramayana - A Linguistic Study says: "Ellipsis is the peculiarity of the style of the older works like Ramayana... their writings, as they stood, yielded incomplete sense which has to be supplemented by adhyaadhaara, viz., supply of words, that would fit in the context... Indeed, in most cases the ellipsis could be readily understood and would suggest the word or words that would make it up...' We therefore request the readers to go by the meaning of the context, than by the order of words, for there is a saying... paaTha krame artha kramo baliiyaH... So, this adhyaadhaara, supply of words, may not be that faithful while rendering from Sanskrit to English.
"Rama being the possessor of suchlike merits, whose truthfulness alone is his courage, embodied with best intrinsic values, ever involved in the welfare of people, besides being the dear and eldest son of Dasharatha, and hence the king Dasharatha affectionately intended to establish such a Rama as crown prince to all intents and purposes of country's welfare...
"Then on seeing the arrangements for the anointment of Rama as crown-prince, Kaikeyi, the dear wife and a queen of Dasharatha, claimed boons that were once accorded to her by Dasharatha, which are the banishment of Rama and anointment of Bharata.
"Bound by the truthfulness of his plighted word and by the halter of righteousness that king Dasharatha exiled his dear son Rama to forests. Such a brave one as he is, that Rama repaired to forest for the reason of appeasing Kaikeyi, and as directed by the verbal directive of his father, and to follow his father's word of honour.
"In whom humbleness and the natural brotherly affection of a brother are abounding, such a fondly younger brother of Rama, namely Lakshmana, indeed heartily followed his forest going brother Rama, exemplifying the ideals of brotherhood, thus augmenting the happiness of his mother Sumitra.
"Seetha, the best one among ladies, a possessor of all best qualities befitting to an ideal lady, the one who is as though fashioned by a Divine marvel, born in Janaka's family and became Dasharatha's daughter-in-law, and she who is the loving wife and an ever-amiable alter ego of Rama, even she followed Rama to forests, as with Lady Rohini following the Moon...
Here deva maaya refers to many concepts. Vaishnavaite tenets tell that the word deva is ascribable only to Vishnu, but not to other gods. Thus, this is Vishnu maya, when He assumed an extraordinary female form called Mohini, when distributing amR^ita, the divine elixir, to gods and demons. Next is the form of Tilottama, a divine beauty to hoodwink demons called Sunda and Upasunda. The other is Vishnu's liilaa shakti, which is divinely fascinating. Yet another is grammatical connotation, maa yaa where, maa= Goddess Lakshmi; yaa= who that is; meaning yaa siitaa saa maa= 'who is Goddess Lakshmi... She is Seetha...' and this results in the saying: ati ruupavatii siitaa... ati muurkhaH cha raavaNa 'While Seetha is an extraordinarily beauty, Ravana is an eccentrically stupid...
The deities have their wives always with them. Chandra, the Moon has Rohini, a conspicuous star, while Surya, Sun has Prabha, Sunshine. Minus these wives, their glow and glitter is void. So also, Rama has an inseparable wife. Though Seetha and Lakshmana were not exiled, they followed Rama out of concept of 'togetherness...'
"The citizens of Ayodhya and even his father Dasharatha have followed that virtue-souled Rama for a distance when he started on his exile. Later Rama reached the tribal chief named Guha, who has a liking for Rama, on the bank of River Ganga in a town called Sringaberapura. And when Rama is teamed with Guha, Lakshmana and Seetha, he left off the charioteer and a minister of his father who charioted them thitherto, namely Sumantra.
Here while saying guhena saH hitaH raamaH can also be cleaved as guhena saH hitaH = saH raamaH guhena hitaH 'he that Rama is sent, or sailed over Ganga by Guha...' apart from the above. The word Sringaberapura means a township where the replicas of stags with sets of antlers are prepared and placed at places in order to attract selfsame stags or deer, and then the tribals can catch those animals. The word Guha means guhaati it guhaH 'one who hordes/steals others' wealth by waylaying etc...' thus, though the tribal chief is a lowly subject by birth and caste-oriented activity, Rama has no aversion for such subjects, because Guha reposes love in Rama. Govindaraja.
"That trio of Seetha, Rama and Lakshmana on treading forest after forest, and on crossing rivers with plethoric waters, reached the hermitage of Sage Bharadwaja, and by the ordainment of that sage they arrived at Chitrakuta, and setting up a handsome cottage there, they who have enjoyed every comfort in Ayodhya enjoyed every comfort here also in no less a degree and that trio lived happily and exuberated themselves in woods at Chitrakuta, similar to gods and celestials...
In another way the meaning is: te avane 'they, protecting each other...' te ramamaaNaaH ' those two Rama and Seetha, frolicsomely delighted, enjoyed the essence of forest-faring...' sa.mkaashaa similar to Vishnu or Narayana's enjoyment of kriiDaa rasa 'the essence of His playful acts...' and Lakshmana enjoyed the essence of his servitude sevaa rasa and where deva = devii ca devaH ca devau 'either goddess or god... it but the Almighty...' gandharva = gaanam dhaarayati iti gandharva - jiivan muktaH salved-soul, thus Lakshmana rejoiced with his singing of saama gaana of Sama Veda....' And they rejoiced without feeling any difference between city dwelling and forest dwelling... as every part of Universe is theirs.
In another way tevane vanam gatvaa 'playfully, to forests, they went...' It is a play for them to enter the forest to resolve the purpose of Ramayana and their incarnations.
"On Rama's going to Chitrakuta thus, King Dasharatha is aggrieved by the grief for son and went to heavens grieving for son...
The word 'thus' is according to the text of Govindaraja. Maheshvara Tiirtha's text will have 'then'.
"On Dasharatha's departure to heavens, though Sage Vashishta and other Brahmans have impressed upon him for his investiture in kingship, and even though he is highly effectual to rule such a kingdom, he that Bharata refused the kingdom, and that self-denying Bharata, for he is aloft the greed, grouse, and gripe, went to forests to pray for mercy at the feet of Rama...
"But on reaching that great-souled Rama, who is a vanquisher just by his truthfulness, Bharata humbly and reverentially begged of his brother, and the avowed word of Bharata is this, 'oh! Knower of Probity, you alone shall be the king... '
"Even though Rama is a really benevolent one, even though he is a readily willing one, even though he is a greatly reputed one for endowments, even though he is a highly capable endower of whatever sought by his adherers, even then Rama did not desire the kingdom, to keep up his own pledge and also owing to his father's directives...
In the compound na ca icChat the 'ca' indicates that though he is disagreeing now, but said to have agreed to take up the kingdom after the period of exile as stipulated in the exilic terms.
"On giving his sandals to that Bharata for custodial care of kingdom till his return after the period of exile, then the elder brother of Bharata, namely Rama, persuasively turned away Bharata.
"Unfulfilled is the desire of Bharata in taking back Rama to kingdom, hence on touching Rama's feet and taking sandals, he returned from Chitrakuta, and without ruling from capital Ayodhya, he carried on the kingdom from a village called Nandigrama, with an expectation of Rama's return...
"On the departure of Bharata, that effulgent one, for his self-effulgence is not marred by the arrival of Bharata with an incitement; that truth-bound one, for his truthfulness is undeterred even by the supplications to return to capital by Bharata, Kausalya, and even Kaikeyi; that self-controlled one, for the lure of kingdom has not controlled his senses, such as he is, he that Rama foresaw the repeated arrival of citizens, other subjects, or even Bharata to that place. Hence Rama indeed entered Dandaka forest, determinedly about his plighted promise to undergo exile and decidedly about the elimination of demons...
In this compound naagarasya janasya ca the 'ca' is indicative of Bharata, who may make habit of frequenting Chitrakuta, for one reason or the other.
"That lotus-eyed Rama on his entering the vast of Dandaka forest eliminated the demon Viraadha, and indeed descried Sage Sharabhanga, also even Sage Suteekhsna, also Sage Agastya and likewise Sage Agastya's brother...
The name of Agastya's brother is Sudarshana, and he will never be called by his own name, but will be called as agatsya bhraata, brother of Agastya, a sage in name only and any person hanging on to his brothers or relatives will be nicknamed like this.
"On the advice of Sage Agastya Rama took a bow of Indra from Sage Agastya, which Indra once gave to Sage Agastya, along with a sword, and two quivers in which arrows will be ever-replenishing, and thus Rama is highly pleased to receive befitting weaponry...
"While Rama is staying in the forest of Sage Sharabhanga, all the sages and forest moving ascetics, vaanaprashta-s, have approached him for the elimination of monsters and menacers... Rama conceded to the supplications of those sages of that forest, which forest has become an abode of demons, and Rama also promised those sages who are the dwellers of Dandaka forest, and whose glow is like that of the Ritual-fire, to eliminate all of the demons in combat...
Vividly: 'the sages whose resplendence is like that of Ritual-fire and who are capable of living in that deadly forest only by their calibre of sageship, and who by themselves can eliminate those demons just by their ascetic capability, they wanted some divine medium to undertake that task of elimination, as that so-called divinity alone perpetrated these demons proffering all boons on those demons. And they spotted this Rama, even though he is in a peaceable get-up of a hermit, and as a family man is with his wife. But sages are aware about the real reality of this Rama and requested him alone, because they know why and what for Rama came this far, that too with Seetha. Thus, the sages of Dandaka forest really aid and abet this Rama, the eliminator of demons, and thus they collectively lead Rama and Seetha to the real place of action.'
The word asura is declined as asuuna raati iti asura... asu = life; ra= taker; i.e., life takers - demons, while the word sura is nectar consuming one, the divine. In later chapters of this canto, accounts are given as how these were created and named.
"While Rama is living there in Dandaka forest, a guise-changing demoness named Shuurpanakha, who is a resident of Janasthaana, a place in Dandaka forest, is disfigured...
This is metonymy. Rama did not do it himself, but his brother Lakshmana does this act of cutting the nose and ears of this demoness, which is the twisting point of the story. She is so named as Shuurpanakha because her like fingernails are like winnowing fans, shuurpa tulya nakhaa iti shuurpanakha; shuurpa= winnowing fan; tulya = like; nakhaa = fingernails. She is the sister of Ravana, and she is the actual trouble-shooter in the epic.
"Then in a combat Rama eliminated all the fourteen demons who rebelliously came at him in the first round of combat incited by the provokes of Shuurpanakha, and then in second round Rama eliminated demon chiefs called Khara, Trishira, Duushana, who are none but the cousins of Shuurpanakha and Ravana, together with all of their hench-demons... During his stay in Dandaka forest Rama eliminated fourteen thousand demons in all, who are the inhabitants of that very forest...
"Then on hearing the slaughter of his cousins, Ravana is convulsed in anger and sought the help of a demon named Maareecha...
Ravana is the supremo of demons and the main antagonist in this epic. His name is Dashagriiva, meaning that he has ten heads, whereby he can be called Decahedral demon, or a Decahedron, in a fanciful way. This name 'Ravana' obtains from the root ru - shabde raavayati iti raavaNaH 'one who makes people criers by his violent actions...' and it also means vishravasaH apatyam pumaan raavaNaH, vishravaso vishravaNa ravaNau 'the son of one named Vishravasa...' Govindaraja.
"But Maareecha deterred Ravana telling him time and again, 'oh, Ravana, unpardonable will be your rivalry with that formidable Rama, formidable because fourteen thousand clansmen of ours could not triumph over him...' Then heedless of Maareecha's advice and ushered by the time of his own doom, Ravana advanced to the threshold of Rama's hermitage along with Maareecha... Ravana stole the wife of Rama, namely Seetha, by getting the princes Rama and Lakshmana distracted distantly from their hermitage through the trickster Maareecha, and after putting the eagle Jatayu, which came to Seetha's rescue, to sword...
"On seeing the eagle Jatayu almost dead and on hearing from the same eagle that Maithili is stolen, seethed with anguish and senses frenzied Raghava bewailed... Rama then cremated that eagle Jataayu in that anguish, and while searching for Seetha in forest, he indeed saw a demon named Kabandha, who is misshapen in his look and monstrous to look to...
Jataayu is a friend of Rama's farther Dasharatha and thus it is fatherly eagle to Rama and its death is as worse as his father's death. Secondly, an eagle is a highly sophisticated search engine. But it is dying. So an additional misery is bechanced.
"That Rama whose arms are highly powerful has eliminated and cremated that demon Kabandha, and Kabandha while going heavenward told Rama, 'oh, Raghava, proceed to the ascetic lady of right-conduct and an expert in rightness, namely Shabari...' and vanished... He who is a great-resplendent one and an enemy-eliminator, that son of Dasharatha, Rama arrived close at Shabari, and Shabari venerated him, thoroughly...
By mentioning the name of Dasharatha it is indicated that the hospitality given by this ascetic lady Shabari is more satisfactory to Rama, than that which was accorded by his own father Dasharatha. Govindaraja. Next verse onwards the episodes in Kishkindha are introduced. Now Rama meets Hanuma, the Vaanara. Traditionally this character is taken as a monkey god. vanena= in forests, charati= moves about, iti= thus; therefore vaanara = 'forest-ranger' is the declination of the term. It neither means an absolute monkey-hood or absolute god-hood, but these vanara-s are the great characters in this epic, humanoid forest ranging monkey-humans. These Vanara-s have their rich traditions, which we will come across in Kishkindha Kanda proper. For now they may be taken as great heroes, but hereinafter referred to as 'monkeys' or 'vanara-s' for an easy comprehension and in a customary way.
"Rama met the vanara Hanuma on the banks of Lake Pampa, and upon the word of Hanuma Rama indeed befriended Sugreeva... That highly dynamic Rama detailed to Sugreeva, and even to Hanuma, all that has happened from the beginning in general, and the abduction of Seetha, in particular...
Here the use of 'highly dynamic...' to Rama is to indicate that though he himself is capable enough to resolve the riddle called Ravana, but as a human, he needs some agency since humans in such difficulties are usually in need of a helping hand for such resolves. As such, Rama has to befriend Sugreeva and it is necessary to narrate all sad episodes to his friend.
"On listening all that has happened from Rama, that vanara Sugreeva befriended Rama where the witness for that friendship is flaring fire, for it alone is auspicious... Then that woeful king of monkeys Sugreeva woefully informed Rama about his saga of feud with his brother Vali in reply to Rama's query, in friendship and in its entirety... Then Rama solemnly promised Sugreeva to eliminate Vali in retaliation to his foul deeds in respect of Sugreeva and of probity as well, and then that vanara Sugreeva started to tell about the sinews of Vali...
Vali, the elder brother of Sugreeva, is another principle character of Ramayana. He is capable of rendering oblations to gods in the wee hours of a single day in four oceans on four sides of the globe, by his swinging from one ocean to the other. He is mightier than Ravana, the chief villain of the epic, and Ravana is subdued by Vali's strength. As a preamble to the incident of eliminating mighty Ravana in the last book of the epic, this episode of eliminating a still mightier monkey is the stepping-stone for the climactic victory.
"Sugreeva always remained doubtful about the powers of Raghava and by reason of confiding in Raghava's prowess for himself, and by reason of making Raghava to confide in the powers of Vali, Sugreeva has shown him the massive remains of demon Dundubhi, which is similar to a great mountain... That omni-dextrous Rama looked at the skeleton, smiled in aplomb, then that very energetic Rama flicked that skeleton with tip of his foot's big toe wholly to a ten yojana-lengths... yet Sugreeva's confidence remained apathetic...
Vali is able to throw that body, with whole of his foot, only up to two hundred bow-lengths, where the length of bow is said as six to seven feet. But Rama could kick that heap to ten yojana lengths, roughly ninety miles, only with a flip of his foot-toe's tip. But Sugreeva continued his grumbling, 'in those days this skeleton was with flesh and blood, now it became weight-less, thus show me more of your show of strength...' One Yojana is an ancient measure for distance, where that distance is covered in one yoking. Chambers dictionary puts it as five miles, and it is disagreeable for it is British-Indian revenue measure. Traditionally it is four krosha-s and thus each yojana is nine to ten miles. This is amplified elsewhere in these pages.
Govindaraja cleaves the compound utsmayitvaa to ut smayitvaa and takes ut 'to up...' and fixes it to cikshepa to mean ut cikshepa 'up-heaved and hurled...' and smayitva comes to mean 'smiling self-assuredly, or smiling self-composedly...' And Maheshvara Tiirtha says that 'when all-wise-knowers are not able to know what I am, there is no surprise if a monkey in a remote forest doubts my capability... let him see a speck of it...' thus Rama smiled in aplomb...'
And the often repeated epithet to Rama mahaa baahuH means not just 'yards and yards of lengthy arms...dangling up to knees..' but 'one who does unimaginable deeds...' and his arms are the unusual instruments to perform such unusual tasks, hence ambidextrous, or omni-dextrous...
"Again Rama ripped seven massive trees called sala trees with only one great arrow, which not only rived the trees but also rent through a mountain, and to the nethermost subterranean of earth, in order to inculcate certainty in Sugreeva...
The rasaatala is deepest subterranean plane, and it forms the base of other planes of earth called, atala, vitala, sutala, talaatala, mahaatala, rasaatala underneath the surface of earth up to its core.
"Then Sugreeva's heart is gladdened by that act of Rama and also at the prospect of his own success, and then that great monkey confiding in Rama advanced to the cave like Kishkindha along with Rama... Then that best monkey Sugreeva whose body-hue is golden war-whooped at the entrance of cave like Kishkindha, by which loud shouting there emerged Vali, the king of monkeys, out of that cave like Kishkindha... Vali came out only on pacifying Tara, his wife, who deterred Vali from going to meet Sugreeva in a combat, as she doubted that Sugreeva must have come with Rama, and then Vali met Sugreeva head on... and therein that duel Raghava eliminated Vali, only with one arrow...
"On eliminating Vali in combat upon the word of Sugreeva, then Rama established Sugreeva alone for that kingdom as its king... Sugreeva being the ablest among monkeys summoned all of the monkeys and sent them forth in all directions in search of Seetha, the daughter of Janaka...
Sugreeva is acclaimed to be a strict disciplinarian, as his orders are inviolable by any. Even now the proverbial saying exists that a "command by elders is to be followed like sugreeva aaj~na 'Sugreeva's order' which is to be implemented even at each other's throats, but can not be refuted, lest those throats will be nipped off.
"Then, upon the word of Sampaati, the eagle and elder brother of Jataayu, the efficacious Hanuma leaped forth the salty ocean, which breadth-wise is in a hundred yojana-s... On reaching the city Lanka ruled by Ravana, Hanuma has seen Seetha, where she is lodged in Ashoka gardens and meditating on Rama alone... Hanuma on presenting the remembrancer, an emblematic ring of Rama to Seetha, also on delineating the sad disposition of Rama to her, thus on solacing Vaidehi, he started to smash the welcome-arch of that beautiful Ashoka gardens...
"On wiping out five army chiefs, seven sons of ministers, and on kneading down a gallant demon named Aksha Kumara, Hanuma had to enter into the captivity of a powerful weapon darted by Indrajit, the son of Ravana... Though the release from the weapon's captivity is known to him by the boon of Brahma, and though he is valiant enough to pulverise all the demons, but to see and talk to Ravana, thus to gauge the strength of enemy, Hanuma is intentionally tolerant of the demons and their making monkey of him when they fastened him with ropes and dragged him to Ravana's court. After an audience with Ravana Hanuma burnt that city Lanka, except where Seetha, the princess of Mithila is stationed, and then to narrate the pleasant news of locating Seetha, he again got back to Rama, for he is a great monkey...
This is in Sundara kaanda. Hanuma sees Ravana and others in the court, creates a scene there, as a show of his side strength, and only to prove that the riches and wealth enjoyed at the cost others will burn down to ashes on some day, Hanuma burns everything down, except the place where Seetha is stationed, besides Vibheeshana's place, for he is the prospective adherer of Rama. This episode is to relegate the false pride of Ravana, and as a symbolic suggestion that pomp and effluence without virtue are short lived.
"That inestimable intellectual Hanuma on approaching that great-souled Rama, and on performing circumambulation around him in reverence, subtly submitted that, 'Seen... Seetha...' Then, Rama along with Sugreeva and other monkeys has gone to the seashore of Great Ocean, and when Ocean-god is unyielding to give way, then he started to put the Ocean-god to turmoil with his arrows, as with Sun-god who puts an ocean to turmoil with his sunrays...
Rama became angry at the ocean for not yielding way to the crossover. In order to make way through the ocean, Rama starts depleting its waters with arrows, sharaaH and in Sanskrit this word synonyms with the rays of sun, and therefore the similitude of Rama with Sun-god.
"The Ocean-god revealed himself and upon the word of that Ocean-god alone, Rama put up vanara Nala to build a bridge across the ocean...
Nala, a Vanara engineer, had a boon from his mother. In his childhood he used to throw playthings into water, only to see them floating. But they were all submerged. His mother then gave a boon to him saying that whatever article he throws in waters it will float, may they be toys or stones or boulders. Here that boon is taken advantage of, and a boulder bridge is built on oceanic waters. This is the gist of Great War canto.
"On going to the city Lanka by that bridge and on eliminating Ravana in battle, Rama redeemed Seetha, but he subsequently came down with much humiliation, since redeeming Seetha in enemy's place might become controversial... Then Rama spoke harsh words to Seetha among the assemblages of monkeys, demons, and others, but she that Seetha being husband-devout has entered the burning fire intolerant of those unkindly words of Rama...
"Then, upon the word Fire-god,, and Rama realised that Seetha is rid of sins and he is very highly gladdened. And when all the gods reverenced him for his great accomplishment in eliminating Ravana, Rama shone forth with his self-resplendence. Thus all the three worlds inclusive of their mobile and sessile beings, all gods with the observances of hermits have become exultant for this great accomplishment of the great souled Raghava...
"Enthroning Vibheeshana as the chieftain of demons in Lanka, then feeling that his task is fulfilled, Rama indeed rejoiced highly getting rid of febrility about any uncertainty of fulfilling his promises, excepting for Jatayu...
"Rama obtained boon from gods to get all the dead monkeys up on their feet as though woken up from sleep, and he travelled towards Ayodhya by Pushpaka aircraft, with all the good hearted friends around him...
"Rama, the truth-valiant, has gone to the hermitage of Sage Bharadwaja en route, and he has also sent Hanuma to the near of Bharata beforehand... Then on boarding Pushpaka aircraft again after leaving the hermitage of Bharadwaja, and telling episodes jovially to Sugreeva and others about the events in the days of his exile in forests, while flying overhead of the very same places, Rama went to Nandigrama, where Bharata is available...
"That impeccable Rama rejoining with all of his brothers in the village Nandigrama removed his matted locks of hair along with them. Thus he, on regaining Seetha and on discarding hermit's role again became a householder, and he regained his kingdom also...
"When Rama is enthroned then the world will be highly regaled and rejoiced, exuberant and abundant, also rightly righteous, trouble-free, disease-free, and free from fear of famine..." Thus Narada is foreseeing the future and telling Valmiki. While Rama is on the throne men will not see the deaths of their children anywhere in their lifetime, and the ladies will remain husband-devout and unwidowed during their lifetime...
When it is said that 'women are un-widowed and their husbands are ever living...' Dasharatha's widows can be pointed to contradict this statement. But it is said 'when a woman is with her son/sons living, though her husband dies, she is still a 'wife of somebody...' thus she is still un-widowed.
"In the kingdom of Rama there is no fear for subjects from wildfires, gale-storms or from diseases, and there is no fear from hunger or thieves, nor the cattle is drowned in floodwaters, as well... May it be a township or a remote province, it will be replete with coin and grain, and as to how people lived in high gladness during the earlier Krita era, likewise people will live in Rama's period also with the same gladness... On performing hundreds of Horse-Rituals and rituals wherein plenteous gold is bounteously donated, likewise on donating millions of cows and uncountable wealth to Brahmans and scholars, that highly illustrious Rama will proceed to Brahma's abode, in future...
By the wording 'highly illustrious...' Govindaraja tells that 'for a small criticism from a small fellow, Rama deserted his wife... hence he is illustrious...' Then 'he will go to Brahma's abode...' a repeated expression, indicates that this epic is composed during Rama's time as he also gave an ear to it through Kusha and Lava, so his journey to heaven will happen henceforth from now.
"In this world Raghava will establish kingly dynasties in hundredfold and he will be maintaining the four-caste system positing each in his own probity, may it be caste-bound or provincial-kingdom-bound probity, in order to achieve a perfect social harmony... On reverencing the kingdom for ten thousand years plus another one thousand years, i.e. for a total of eleven thousand years, Rama voyages to the abode of Brahma...
In rama raajyam upaasitvaa... the word used is upaasana is not ruling by sceptre but it is 'reverentially idolising the kingdom...' as one would regard or treat his personal god with reverence. Rama thus reverenced his kingdom as a devotee of his subjects and this is the concept of raama raajya. The brahma loka is not the abode of four-faced Brahma, but still higher abode, rather vaikunTha itself.
"This Ramayana is holy, sin-eradicating, merit-endowing, and conformable with the teachings of all Vedas... and whoever reads this Legend of Rama, he will be verily liberated of all his sins...
"Any man who reads this lifespan-enriching narrative of actuality, Ramayana, the peregrination of Rama, he will be enjoying worldly pleasures with his sons and grand sons and with assemblages of kinfolks, servants etc., as long as he is in this mortal world and on his demise, he will be adored in heaven...
"A man reading this Ramayana happens to be a Brahman, one from teaching-class, he obtains excellency in his speech, and should he be Kshatriya person from ruling-class, he obtains land-lordship, and should he be Vyshya person from trading-class, he accrues monetary-gains, and should he be a Shudra person from working class, he acquires his personal excellence..." Thus Sage Narada gave a gist of Ramayana to Sage-poet Valmiki.
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Valmiki composed Ramayana according to the letters of Gayatri Hymn and they ar identified with the following verses in all cantos: þlokena prati s˜hasraÕ prathame kram˜t | g˜yatri akÿaram ekaikam sth˜pay˜m˜sa vai muni× ||
1. ta - tapaH svaadhyaaya nirataam tapasvii vaagvidaam varam |
naaradam pari papracCha vaalmiikir muni pu.mgavam || 1-1-1
2. sa - sa hatvaa raakSasaan sarvaan yaj~na ghnaan raghuna.ndanaH |
R^iSibhiH puujitaH tatra yathaa indro vijaye puraa || 1-30-24
3. vi - vishvAmitraH sa raamaastu shrutvaa janaka bhaaShitam |
vatsa raama dhanuH pashya iti raaghavam abravIt || 1-67-12 - baala
4. tu - tuSTaava asya tadaa va.msham pravishya sa vishaam pateH |
shayaniiyam narendrasya tat aasaadya vyatiSTata || 2-15-19
5. va - vanavaasam hi sa.nkhyaaya vaasaa.msi aabharaNaani ca |
bhartaaram anugacCha.ntyai siitaayai shvashuro dadau || 2-40-14
6. raa - raajaa satyam ca dharmaH ca raajaa kulavataam kulam |
raajaa maataa pita caiva raajaa hitakaro nR^iNaam || 2-67-34
7. ni - niriikshya sa muhuurtam tu dadarsha bharato gurum |
uTaje raamam aasiinam jaTaa maNdala dhaariNam || 2-99-25 - ayodhya
8. ya - yadi buddhiH kR^itaa draSTum agastyam tam mahaamunim |
adya eva gamane rocayasva mahaayashaH || 3-11-44
9. bha - bharatasya aarya putrasya shvashruuNaam mama ca prabho |
mR^iga rupam idam vyaktam vismayam janayiSyati || 3-43-18
10. ga - gacCha shiighram ito raama sugriivam tam mahaabalam |
vayasyam tam kuru kshipram ito gatvaa adya raaghava || 3-72-17 - araNya
11. de - desha kaalau pratiikshasva kshamamaaNaH priya apriye |
sukha duHkha sahaH kale sugriiva vashago bhava || 4-22-20
12. va - va.ndyaaH te tu tapaH siddha saptasaa viita kalmaSaaH |
praSTavyaaH te api siitaayaaH pravR^ittim vinaya anvitaiH || 4-43-33 - kiSkindha
13. sa - sa nirjitya purim shreSTaam la.nkaam taam kaama ruupiNiim |
vikrameNa mahatejaa hanumaan maaruta aatmaja || 5-4-1
14. dha - dhanyaa devaaH sa gandharvaa siddhaaH ca parama R^iSayaH |
mama pashyanti ye naatham raamam raajiiva locanam || 5-26-41
15. ma - ma.ngalaabhimukhii tasya saa tadaa aasit mahaakapeH |
upatasthe vishaalaakshii prayataa havyavaahanam || 5-53-28 - sundara
16. hi - hitam mahaartham mR^idu hetu sa.mhitam
vyatiita kaalaayati sa.mprati kshamam |
nishamya tad vaakyam upasthita jvaraH
prasa.ngavaan uttaram etat abraviit || 6-10-27
17. dha - dharmaatmaa rakshasaam shreSTaH sa.mpraapto ayam vibhiiSaNaH |
la.nkaishvaryam dhruvam shriimaan ayam praapnoti akaNTakam || 6-41-67
18. yo - yo vajra paataa ashani sannipaataan
na cukshubhe vaa api cacaala raajaa |
sa raama baaNaa abhihato bhR^isha aartaH
cacaala caapam ca mumoca viiraH || 6-59-141
19. ya - yasya vikramam aasaadya raakshasa nidhanam gataaH |
tam manye raaghavam viiram naaraayaNam anaamayam || 6-72-11
20. na - na te dadR^ishire raamam daha.ntam ari vaahiniim |
mohitaaH parama astreNa gaandharveNa mahaatmanaa || 6-93-26
21. pra - praNamya devataabhyaH ca braahmaNebhyaH ca maithilii |
baddha a.njalii puTaa ca idam uvaaca agni samiipataH || 6-116-24 - yuddha
22. ca - calanaat parvata indrasya gaNaa devaaH ca ka.mpitaaH |
cacaala paarvatii ca api tadaa aashliSTaa maheshvaram || 7-16-26
23. da - daaraaH putraa puram raaSTram bhoga aacChaadana bhaajanam |
sarvam eva avibhaktam no bhaviSyati hari iishvaraH || 7-34-41
24. ya - yaam eva raatrim shatrughnaH parNa shaalaam samaavishat |
taam eva raatrim siitaa api prasuutaa daakara dvayam || 7-66-1 -- Uttara
idam raamaayaNam kR^itsnam gaayatrii biija sa.myutam |
tri sa.ndhyam yaH paThet nityam sarva paapaiH pramucyate ||
yaavat aavartate cakram yaavati ca vasu.ndharaa |
taavat varSa sahasraaNi svaamitvam avadhaaraya ||
ma.ngalam kosalendraaya mahaniiya guNaatmane |
cakravarti tnuujaaya saarvabhaumaaya ma.ngalam ||
iti gaayatrii raamaayaNam sa.mpuurNam
naaradam pari papracCha vaalmiikir muni pu.mgavam || 1-1-1
2. sa - sa hatvaa raakSasaan sarvaan yaj~na ghnaan raghuna.ndanaH |
R^iSibhiH puujitaH tatra yathaa indro vijaye puraa || 1-30-24
3. vi - vishvAmitraH sa raamaastu shrutvaa janaka bhaaShitam |
vatsa raama dhanuH pashya iti raaghavam abravIt || 1-67-12 - baala
4. tu - tuSTaava asya tadaa va.msham pravishya sa vishaam pateH |
shayaniiyam narendrasya tat aasaadya vyatiSTata || 2-15-19
5. va - vanavaasam hi sa.nkhyaaya vaasaa.msi aabharaNaani ca |
bhartaaram anugacCha.ntyai siitaayai shvashuro dadau || 2-40-14
6. raa - raajaa satyam ca dharmaH ca raajaa kulavataam kulam |
raajaa maataa pita caiva raajaa hitakaro nR^iNaam || 2-67-34
7. ni - niriikshya sa muhuurtam tu dadarsha bharato gurum |
uTaje raamam aasiinam jaTaa maNdala dhaariNam || 2-99-25 - ayodhya
8. ya - yadi buddhiH kR^itaa draSTum agastyam tam mahaamunim |
adya eva gamane rocayasva mahaayashaH || 3-11-44
9. bha - bharatasya aarya putrasya shvashruuNaam mama ca prabho |
mR^iga rupam idam vyaktam vismayam janayiSyati || 3-43-18
10. ga - gacCha shiighram ito raama sugriivam tam mahaabalam |
vayasyam tam kuru kshipram ito gatvaa adya raaghava || 3-72-17 - araNya
11. de - desha kaalau pratiikshasva kshamamaaNaH priya apriye |
sukha duHkha sahaH kale sugriiva vashago bhava || 4-22-20
12. va - va.ndyaaH te tu tapaH siddha saptasaa viita kalmaSaaH |
praSTavyaaH te api siitaayaaH pravR^ittim vinaya anvitaiH || 4-43-33 - kiSkindha
13. sa - sa nirjitya purim shreSTaam la.nkaam taam kaama ruupiNiim |
vikrameNa mahatejaa hanumaan maaruta aatmaja || 5-4-1
14. dha - dhanyaa devaaH sa gandharvaa siddhaaH ca parama R^iSayaH |
mama pashyanti ye naatham raamam raajiiva locanam || 5-26-41
15. ma - ma.ngalaabhimukhii tasya saa tadaa aasit mahaakapeH |
upatasthe vishaalaakshii prayataa havyavaahanam || 5-53-28 - sundara
16. hi - hitam mahaartham mR^idu hetu sa.mhitam
vyatiita kaalaayati sa.mprati kshamam |
nishamya tad vaakyam upasthita jvaraH
prasa.ngavaan uttaram etat abraviit || 6-10-27
17. dha - dharmaatmaa rakshasaam shreSTaH sa.mpraapto ayam vibhiiSaNaH |
la.nkaishvaryam dhruvam shriimaan ayam praapnoti akaNTakam || 6-41-67
18. yo - yo vajra paataa ashani sannipaataan
na cukshubhe vaa api cacaala raajaa |
sa raama baaNaa abhihato bhR^isha aartaH
cacaala caapam ca mumoca viiraH || 6-59-141
19. ya - yasya vikramam aasaadya raakshasa nidhanam gataaH |
tam manye raaghavam viiram naaraayaNam anaamayam || 6-72-11
20. na - na te dadR^ishire raamam daha.ntam ari vaahiniim |
mohitaaH parama astreNa gaandharveNa mahaatmanaa || 6-93-26
21. pra - praNamya devataabhyaH ca braahmaNebhyaH ca maithilii |
baddha a.njalii puTaa ca idam uvaaca agni samiipataH || 6-116-24 - yuddha
22. ca - calanaat parvata indrasya gaNaa devaaH ca ka.mpitaaH |
cacaala paarvatii ca api tadaa aashliSTaa maheshvaram || 7-16-26
23. da - daaraaH putraa puram raaSTram bhoga aacChaadana bhaajanam |
sarvam eva avibhaktam no bhaviSyati hari iishvaraH || 7-34-41
24. ya - yaam eva raatrim shatrughnaH parNa shaalaam samaavishat |
taam eva raatrim siitaa api prasuutaa daakara dvayam || 7-66-1 -- Uttara
idam raamaayaNam kR^itsnam gaayatrii biija sa.myutam |
tri sa.ndhyam yaH paThet nityam sarva paapaiH pramucyate ||
yaavat aavartate cakram yaavati ca vasu.ndharaa |
taavat varSa sahasraaNi svaamitvam avadhaaraya ||
ma.ngalam kosalendraaya mahaniiya guNaatmane |
cakravarti tnuujaaya saarvabhaumaaya ma.ngalam ||
iti gaayatrii raamaayaNam sa.mpuurNam
Valmiki Ramayana - Bala Kanda in Prose
Sarga 2
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.
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On hearing that sentence of that eminent sentence-maker Sage Narada, that contains , or Ramayana in a nutshell, narrated in the previous chapter, that great sage of virtuous mind, namely Valmiki, revered the Divine Sage Narada, along with his disciples. That divine sage Narada is worshipped that way by Valmiki in a befitting way, and on seeking permission of Valmiki to leave, and having been permitted by Valmiki went away heavenward.
A while after the departure of Narada to heavens, Valmiki proceed to the riverbanks of Tamasa, which are not far-off form River Jahnavai i.e., River Ganga. Then Valmiki drew nigh of River Tamasa's riverbanks, and on beholding an un-filthy strand of that river, he spoke to his disciple available at his side.
"Oh! Bharadwaja, un-filthy is this watery foreshore, and with pleasant waters it is heart pleasing... like a noble man's heart... behold it... Keep that handy-vessel there, and give me my loincloth... I will enter only this best ford of Tamasa River..."
When Bharadwaaja is said that way by great-souled Valmiki, himself being a humble one before his mentor gave that jute-cloth to that saint, that humbly.
That self-controlled Sage Valmiki on taking loincloth from his disciple's hands, indeed ambled towards the river, looking everywhere at the wide of forest. There godly sage Valmiki saw a couple of lovely krouncha birds, in the vicinity of that river's foreshore, flying there about in togetherness, and of course, fearless of any calamity, and calling charmingly
A tribal hunter with all his evil intent, as he is an enemy of foresters, killed the male one of them the couple of birds, while Valmiki is looking on.
She who is ever together with her husband, a lusty male bird with flighty wings and with a prideful red crest, and one who always had a heart for her, but she is now separated from him, and gone is that togetherness; and she, on seeing her slain husband whose body is blood-soaked, and who is reeling on the ground in the anguish of pain, bewailed with piteous utterances.
Comment: Please ref. to verse section for words ussed. In this verse the bewailing of Mandodari, the queen of Ravana is indicated. bharyaa tu wife, Mandodari, but,; taamra shiirSeNa one with red crest crown, which is decorated with red jewels etc; patriNaa one who has winged vehicles, like Pushpaka aircraft etc; mattena who is intoxicated with Brahma's boons; sahitena one who is surrounded by Indrajit, Vibhishana, Kumbhakarna et al. tena from him; dvijena from that Brahman, from Ravana; viyuktaa, nihatam, mahiitale... as above. Govindaraja.
On seeing at that bird felled that way by the tribal hunter, compassion is aroused in that kind-hearted sage Valmiki. Then on seeing the wailing female krounchi bird, compassion haunting him and apperceiving the killing of male bird as unjust, the sage uttered this sentence...
"Oh! Ill-fated Hunter, by which reason you have killed one male bird of the couple, when it is in its lustful passion, thereby you will get an ever-lasting reputation for ages to come..."
Comment: This is a celebrated stanza of Sanskrit literature, and controversial too, in deciphering its meaning. The separation of compound tvamagama = tu, ama, gamaH. We are told that this is the first verse of human origin with metrical rules and grammar. Earlier to this, only Vedic stanzas were available with their complicated compositional rules. This is the verse where this epic, Ramayana is said to have triggered off. The above given meaning is just a dictionary meaning. This verse has many comports of which a few are given hereunder:
1 This verse is taken as maðgal˜caraõa to Ramayana, for any epic has to have maðgala ˜dŸni maðgala madhy˜ni maðgala ant˜ni A good pious beginning, pious middle and pious ending. Thus this verse has the letter maa at its start and maa is lakÿmŸ v˜caka in Sanskrit. It is ˜di varõa× The first letter - loka m˜t˜ m˜ ram˜ maðgala devat˜ thus amara kosha says for Goddess Lakshmi.
m˜= Goddess Lakshmi; niÿ˜da= Oh! Vishnu for Goddess Lakshmi resides in the heart of Vishnu - niÿadŸti asmin iti niÿ˜da ; yat = by which act; krounca midhun˜t = the couple of demons, namely Ravana and Mandodari; k˜ma mohitam= that impassioned one and stole Seetha; ekam= that one, Ravana; avadhŸ= you killed; by that act of yours þaþvatŸsam˜= everlasting for ages; pratiÿ÷˜m= divine sanctity; tvam agama= you, get.
"Goddess Lakshmi's abode... Oh! Vishnu, by which act of your killing one male demon named Ravana, who in his passionabducted 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 There is another declination attributing this to Ravana. Ravana is the one who tortures others for his benefit. itaraam saadayati piiDayati iti niSaada - thus: Oh! Ravana; krounch+ midhunaat= from the couple of Rama and Seetha, who are flying from forest to forest like nest-less birds; ekam= one is, Seetha is; avadhii =as good as killing her with your torture of abducting; 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 shall start with a bad omen.
3 Next, this verse is said from the perspective of Rama alone. Sage Narada gave the details of the legend to Sage Valmiki and Brahma orders 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., and killed one bird. Valmiki reacted immediately and Vishnu's test is complete. But in exciting the mood of such holy sage, Rama gets a curse in this verse - maa nishaada.
nishaada= oh tribal: 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... for you have to live with your wife departed to Lanka, come again and departed to forests.
But this is differed statement, since Vishnu do 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 --- k˜vya artha s¨canam kascin ˜dy˜m eva nir¨pyate --- Thus the above verse included the meaning of whole of the epic, Ramayana.
i maa+niSaada= Goddess Lakshmi and Vishnu's marriage in their incarnations as Rama and Setha - depicts -- 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 --- depicts-- Ayodhya Kanda.
iii shashavatii+ samaa= by dwelling in forest and eradicating demons and helping the saints and sages thus, you achieve an everlasting praise - depicts - Aranaya Kanda.
iv krounchayoH= from the atrocious couple; -- krunca gati kau÷ily˜ alpŸ bh˜vayo× ; the atrocious Vali, and Tara couple; ekam+kaama+mohitam = one, passion filled, i.e., Vali, avadhii= you killed Vali - depicts - Kishkindha Kanda.
v krouncha +mithunaat= from the couple of lovely passionate birds - here Rama and Seetha; niSaada he Ravana, kaama mohitam lustfully, ekam one i.e., Seetha; avadhii = almost killed, i.e., her residing in Lanka is as good as death; this depicts - Sundara Kanda.
vi krouincha+mithunaat = from the atrocious, couple - Ravana and Mandodari; ekam avadhii one - Ravana, is killed - depicts - 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 left in hermitage by Lakshmana. Hence vii canto uttara Ramayana is also suggested.
On saying thus, and pondering for a while in his heart, 'annoyed by the anguish for that bird, what is it uttered by me...' thus he became cogitative of those lines uttered. On thinking, he that eminently astute and intellectual sage made up his mind, and he that erudite scholar also spoke this sentence to his disciples, thus as...
"This utterance of mine has emerged out of anguished annoyance, and it is well- arranged with letters metrically posited, tuneful and rhythmical to be sung with string instrument, and hence, this shall be a verse, not otherwise..."
Comment: 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, m˜ ni ÿ˜ da pra ti ÿ÷˜Õ tva | ma ga ma þ˜ þva tŸ× sa m˜ -- Each quarter is paada in Sanskrit, pede in Latin; with two quarters in first stanza, and two stanzas one verse. This is 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.
Even the disciple happily received what that is articulated by the saint, a unique articulation, by which the saint too, became happy. 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.
Comment: This is mid-day bath for these hermits. tato madhy˜hna sn˜n˜rtham m®dam ˜haret | - - prekÿya sa omk˜ram ˜dityam tri× nimajje jal˜þaye - - vy˜sa sm®ti 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 anology of poetic verses of Ramayana.
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.
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. Then, the great resplendent Four-faced creator of fourteen worlds, almighty Brahma, arrived there on his own, to see that eminent saint Valmiki.
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.
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. 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.
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.
Then god Brahma, who is seated on a high seat, very highly worshipped by Valmiki, also beckoned at Valmiki to take a seat. 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.
"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..."
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. 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...
"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... 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.
"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... 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...
"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... 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..." On saying thus that Divinity Brahma vanished then and there only, and then that godly sage Valmiki came by astonishment, along with his disciples.
Then all of the disciples of Valmiki sang this verse time and again very delightedly, and muchstonished they also recited this verse, reciprocally.
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.
Comment: 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 þ®ngara, passion, for Bhavabhuti it is pity 'eko rasaH karuNa...' for Valmiki it is pathos, shoka. For this Kavi Kalidas says: niÿ˜da viddha aõýaja darþanottha× þlokatvam ˜padyata yasya þoka× -- raghu vaÕþa 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.
Born is an intuition in that great sage and contemplated soul asserting that "I will compose entire Ramayana, the epic, in suchlike verses..."
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.
That epic which is with uncomplicated compounds, conjunctions and conjugations, and which has expressive sentences that are well-knit and led evenly and sweetly, and that legend of the best one from Raghu's dynasty, namely Rama, which also includes the extermination of the Ten-headed evil named Ravana, that may be listened as narrated by the sage.
Thus, this is the 2nd chapter in Bala Kanda of Valmiki Ramayana, the First Epic poem of India.
Valmiki Ramayana - Bala Kanda in Prose Sarga 3
The scheming of the composition of epic Ramayana is described here. Whole of the epic is rendered in its quintessence, as to how Sage Valmiki scheduled the narration of important milestones of the epic.
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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. 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.
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.
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...
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.
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.
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.
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.
That godly saint Valmiki composed the legend of Rama, the legatee of Raghu, exactly as the divine-soul Narada narrated it earlier. 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.
Narrated are very many other amusing stories, Rama's breaking the great bow; his marriage with Janaki after with the help of Sage Vishvamitra. Dispute of Rama and Parashurama; the matchless merits of Rama, the son of Dasharatha; and the preparations for anointing of Rama as crown prince; Queen Kaikeyi's vicious intentions, are descrbed.
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.
Disruption in royal unction of Raghava; his exile to forests; King Dasharatha's grief and bewailing, and thus his departing to other world; grief of the subjects of that kingdom; Rama's 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.
Rama's crossing over River Ganga; looking up Sage Bharadwaja; their look up at Chitrakuta on Sage Bharadwaja's advise; 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; Bhararata's enthroning shoe-sandals of Rama; his living in a village Nandigrama; Rama's going to Dandaka forests; killing the demon named Viradha; 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, and these details are incorporated with great care.
Also even Rama's seeing the Sage Agastya, and likewise taking a great bow from that sage; the palaver of Surpanakha, the demoness with Rama, and Lakshmana's defacing her, likewise.
The killing demons like Khara, Trishirasa and the upsurge of Ravana thereby, and also killing demon Mareecha, and Ravana's abduction of Vaidehi. Raghava's anguish at the loss of Seetha; Ravana's slaying the mighty eagle Jatayu; Rama's seeing Kabandha, and also Lake Pampa, are said.
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. His going to Mt. Rishyamuka, meeting Sugreeva and generating confidence in Sugreeva, befriending him and the duel of Vali and Sugreeva, depicted.
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, are narrated.
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.
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.
Rama's giving his ring to Hanuma as a token for Seetha's recognition; monkeys on searching see Riskha cave, bear-cave; 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, are narrated.
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.
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.
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. Hanuma's seeing Ravana, and also his seeing Pushpaka, the divine aircraft, and in Ashoka gardens, his seeing Seetha also said.
Hanuma's 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.
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.
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 of burning Lanka, also his return flight from Lanka, and on his way back Hanuma's seeing a honey garden, and they all appropriation of honey.
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. Rama's 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.
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.
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.
Sending Hanuma to meet Bharata, for Bharata 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.
The godly sage Valmiki composed the futuristic legend of Rama while Rama is on the surface of earth, and whatever that is there minutely, that is composed in all its minuteness, in the coming chapters of this epic.
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.
Thus, this is the 3rd chapter in Bala Kanda of Valmiki Ramayana, the First Epic poem of India.
Valmiki Ramayana - Bala Kanda in Prose Sarga 4
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.
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The godly saint Valmiki composed Ramayana on Rama's retrieving kingdom, wording admirably and meaningfully. Sage Valmiki said Ramayana in twenty four thousand verses, in six hundred chapters, in six books, likewise an end-piece too.
The twenty-four are the letters in Gayatri hymn. Ramayana's scheming is based on Gayatri hymn and for this: atra catur viÕþati saðkhyo ukty˜ catur viÕþati akÿara g˜yatrŸ tulyat˜ s¨citam | prathama adhy˜ye - tapa× sv˜dhy˜ya - ityatra prathamam ta k˜rasya - sargapr˜nte - iti etasmin padye - mahatva mŸy˜t -- ityatra y˜t - iti akÿarasya grahaõ˜t api gayatrŸ r¨patvam s¨citam - dharm˜k¨tam
There is a controversy about the number of verses and cantos. If Uttara Ramayana, otherwise called abhudaya kaanDa , is ascribed to Valmiki, the cantos are seven and chapters are about 649 and verses are about 24,253. But some verses and chapters are deleted for standardization of Ramayana as per this verse and they contain 560 chapters and 24,00 verses only. Some argue that when it is said 24, 000 verses are there, it does not actually a mathematical assertion, like the calculation of mahaa yuga -s and manvantara -s, and as one would give a reply to his age as 30 years, or 60 years, but not as 29 years, 6 months, seven days or so... In furthering that standardization affair, some said that even this canto, Bala kaanda is not authored by Valmiki. It is not clear as of now when the pundits can decide as to which is standard and which is not.
The transcendental aspect of Ramayana and its content is explained in 18 terms by ancient commentator Govindaraja. 1] Rama's Absoluteness, paramaatma tattva ; 2] Ideation to know Him, upaaya ; 3] Dedication in Him, kainkarya ; 4] Human aspect, puruSaakaara ; 5] Diviner, adhikaara ; 6] Resolve in God, adhikaara paaratantrya ; 7] God's resolve in Dedicate, bhagavat paaratantrya ; 8] Knowledge of five Meanings, artha pancaka j~naana ; 9] Self-denial, akincinatvam ; 10] Teacher selecting, aacaarya varaNam ; 11] Climax, autkaNThata ; 12] Behaviour, pravartana ; 13] Residence, vaasa sthaana ; 14] Two Narayana hymns, naaraayaNa mantra dvaya ; 15] Gayatri, Gayatri hymn; 16] Negating negative-thinking, durvicaara parihaara ; 17] negating Love for Living, samsaara jihaasa ; 18] 64 Divinely Arts, catuSaSTi kalamayatva . Of them we take up the15thGayatri.
The identification of Gayatri with Ramayana scheme is explained in many ways. By tat savitR^i the features and attributes of the Absolute as per narrations in Bala Kanda. vareNya by the narration of Absolute's attributes in Ayodhya and Kishkindha kaanda-s, and adherents like Lakshmana, Bharata, Sugreeva take shelter in Him here only. bharga is identified as per the description of resplendence of The Divine as envisaged by the sages and hermits in Aranya Kanda. devasya and in dhiimahi where that deva the Divine is explained by Hanuma, not only to Seetha but to all in Sundara kanda. hi dhii mahi is as explained in Uttara Kanda, which centers around moksha salvation.
Though that great scholar composed thus with leading and sequel legends, that godly saint thought over thus 'really, who will render all this ballad...'
Then Lava and Kusha who are in the attire of hermits have touched the feet of that contemplative soul Valmiki, who is now thoughtful. 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. 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.
That sage with observed sacred vows has rendered the entire epic in the name of 'Ramayana', 'Sublime Legend of Seetha' and 'elimination of Ravana'.
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 .
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...
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.
Aesthetics like romance, pathos, comic, fury, fright, valour etc., embodying the epic is sung by Kusha, Lava.
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
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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.
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 .
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.
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.
They the princes have memorized that virtue-expounding epic, the best; in its entirety and in doing so, they rendered that epic faultlessly. 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.
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. On hearing that, the eyes of all the sages were overspread with tears of happiness, and they appreciated saying, 'splendid, splendid is this...' All those saints being the saint-patrons of virtue are pleased at heart, and praised the praiseworthy Kusha and Lava, while they are singing.
"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... 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. While the great saints of blessed ascesis are appreciating that way, those two melodiously sang very effectually and very meaningfully.
And someone, a pleased saint, got up and bestowed a handy vessel to them... another reputed sage, lauding them contributed a jute robe. 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.
"Surprising is this well-said rendering of Valmiki... it is the subsistence for tomorrow's poets... and this is completed sequentially, as well..."
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. Then on seeing them Rama, the enemy-eliminator, fetched those honour-worthy bothers, Lava and Kusha, to his palace and honoured them.
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. Having seen the mannerly brothers endowed with beautiful features, Rama spoke to Lakshmana, and Shatrughna, and Bharata likewise.
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.
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.
Enthralling courtier's bodies, minds and hearts also, that song sone forth as it is 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
kushii lavau cha eva mahaatapasvinau |
mamaa api tad bhuuti karam prachakshate
mahaanubhaavam charitam nibodhata || 1-4-35
35. imau munii paarthiva lakshaNa anvitau= these two, saints, kingly, features, possessing; kushii lavau cha eva maha tapasvinau= Kusha, Lava, also, thus, great, hermits; mamaa api tat bhuuti karam= to me, also, that, good fortune, endowing; mahanubhaavam charitam prachakshyate = the great efficacious, legend, they tell; nibodhata= listen it.
"These two saint-like Kusha and Lava, who also possess kingly features, but they are great hermits... this narration is endowing good fortune to me also, listen to that great efficacious legend [of Seetha...]" [So said Rama to those courtiers.] [1-4-35]
Here Rama tells that this legend is 'efficacious' for it is the legend of Seetha, and should it be Rama's alone, he will get the blemish of self-glorification, aatma prashamsaa doSa , and brave heroes of legends cannot be subjected to such a blemish. And to listen to the legend of his dearest, who at present is not with him, gives a kind of consolation, and thus he is asking all of us to listen to siitaayaH caritam mahaan ...
tataH tu tau raama vachaH prachoditau
agaayataam maarga vidhaana sa.mpadaa |
sa cha api raamaH pariSad.h gataH shanair
bubhuushhaya aasaktamanaa babhuuva || 1-4-36
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]
Thus, this is the 4th chapter in Bala Kanda of Valmiki Ramayana,the First Epic poem of India.
Valmiki Ramayana - Bala Kanda in Prose Sarga 5
We enter the capital of the Emperor Dasharatha. The pomp and glory of his capital is depicted along with its town planning and grandeur of the city, and its residents.
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Once upon a time, under which victorious kings this entire earth with all its islands is there, starting from Prajapati; among which kings there is one named Sagara, who deepened the oceans, and whom his sixty thousand sons were fencing in when he is set out for action; in the dynasty of such of those Ikshvaku kings this highly revered and reputed epic Ramayana is originated.
Being such a legend, we two wish to relate this Ramayana entirely and completely from the beginning, which is endowed with the values and means of probity, prosperity, and pleasure seeking... and this be listened without any caviling.
A great kingdom named Kosala, a joyous and a vast one well flourishing with monies and cereals, is snugly situated on the riverbanks of Sarayu. A world-renowned city is there in that kingdom, which is personally built by Manu, the foremost ruler of mankind. That glorious city with well-devised highways is twelve yojana-s lengthwise and three yojana-s breadth wise.
Yojana is an ancient measure of distance, where one yojana roughly equals to 8 to 10 miles. Its account is like this : 1 angula is 3/4 inch; 4 angula-s are = one dhanu graha - bow grip; 8 angula-s are = one dhanu muSTi - fist with thumb raised; 12 angula-s are = 1 vitasti - distance between tip of thumb and tip of last finger when palm is stretched; 2 vitasti-s = 1 aratni -s - cubit; 4 aratni-s = one danDa, dhanuS - bow height - 6 ft ; 10 danDa-s = 1 rajju 60 ft ; 2 rajju-s = 1 paridesha - 120 ft ; 2, 000 dhanuS-s = one krosha , and also called goraTa - 4, 000 yards ; 4 krosha-s = 1 yojana - thus one yojana is 9 to 10 miles. But the British Revenue measurement scaled it down to 5 miles, and all the dictionaries say that one yojana is 5 miles. But traditionally it is held as 10 miles. More info on these measures can be had from The Artha Shaastra of Kautilya - a republication of Penguin.
That city shines forth with well-laid great royal highways that are always wetted with water, and with flowers strewn and scattered on them. As an improver of great kingdom Dasharatha the king made her as his abode, as Indra made heavens as his abode.
That city is surrounded with gateways and archways; the front yards of buildings are well laid; it is lodges all kinds of machinery, weaponry and craftsmen, and king Dasharatha dwells in such a city. She that prosperous city Ayodhya is muchly crammed with many a eulogist and panegyrist, yet she is highly splendorous with many a bastion, flag and hundreds of batteries of canons, and Dasharatha dwells therein.
Comment: This shataghnii literally that which can kill a thousand people, and it is said to be a canon and also said to be thorny weapon: þataghnŸ catu× tal˜ loha kaõ÷aka sañcit˜ | aya× kaõ÷aka sañcchann˜ mahatŸ þil˜ -- elaborate accounts of this shataghni, kshipaNi are there in yajur aaraNyaka .
That city Ayodhya accommodates groups of danseuses and theatrical personnel, and she is surrounded everywhere with the gardens and brakes of mango trees, and her wide fort-wall is like her cincture ornament. That Ayodhya is an impassable one for trespassers, or for others invaders, owing to her impassable and profound moats, and she is abounding with horses, camels, likewise with cows and donkeys.
With the throngs of provincial kings who come hither to pay dues pervade that city, and she is verily lustrous with residents of various other countries, and with traders, too. In such a city Dasharatha dwells. Buildings are ornamentally studded with precious gems, and with such multi-storied sky scrappers she is adorned, and filled with them she is like Amaravati, the capital of Indra.
Amazing is Ayodhya for its lay-out is like a game board called aSTapadi, and with its flocks of beautiful women moving thereabout, where all kinds of precious gems are heaped up, and where its seven storied buildings are picturesque. The housing is very dense and there is no place or ground unutilized, and all are constructed on well-levelled lands, and rice-grain is plentiful while the drinking water tastes like sugar cane juice.
That city is sounding with the drumbeats of great drums, and with musical rhythm instruments like mridnga, cymbals, and with string instruments like Veena etc., and on earth she is uniquely the best city.
Great drums, called dundubhi , placed on castle walls and at central places to drum the times of the day or night, or at the arrivals of the noblemen or to keep the sentry whistles. As well, the melodious tunes from string instruments like Veena or rhythmic instrument mridanga and from various other instruments are always made available to the citizens, as a sort of background music, since royalty sponsors these performing arts.
Ayodhya is like a hovering space station attained by sages by their ascesis, and its edifices are well planned and it is teeming with best people.
They the skilful archers of that Ayodhya will not kill a lone one with their arrows, one that does not have either a predecessor or a successor in his family, a fleeing one, or by listening to the sound of the target, as is done in sonic-archery, and their skills, acumen and handiness are thus benevolent.
Dasharatha in his youth, when he was on a hunting spree, killed the son of a hermit who was drawing water from a river. That son of the sage dipped his pot in the waters and the filling water gave sounds like that of a grumbling tiger. Dasharatha mistook that sound to be a tiger's grumble and swung his arrow that way, killing the boy. Thereby the father of the boy being a sage of eminence, cursed Dasharatha to die lamenting for his son, which happens after the exile of Rama. Perhaps the sonic-archery may thus have been banned in Ayodhya, lest such sad incidents would have recurred.
They kill the fattened and roaring lions, tigers and wild boars with the might of their sharp weaponry, or even with the might of their own arms alone. With that kind of thousands of archers, and with speediest chariot-warriors she that Ayodhya is filled with, and King Dasharatha made his abode in such a city.
She that Ayodhya is encompassed with Vedic scholars who always worship the ritual fire by enkindling the three kinds of ritual-fires continuously, virtuous Brahman scholars in Veda-s and their six ancillary subjects, and other great souls that are in similitude with great saints, and who are just like sages that are charitable donors, and that abide by the truth.
Thus, this is the 5th chapter in Bala Kanda of Valmiki Ramayana, the First Epic poem of India.
Valmiki Ramayana - Bala Kanda in Prose Sarga 6
The riches and happiness enjoyed by the people, under the rein of Emperor Dasharatha, along with the details of its valiant heroes, elephants, horses and the town planning are narrated.
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He who is well-versed in Veda-s, who is a gatherer of all scholars, riches and forces as well, a foreseer and a great resplendent one, also one who is esteemed by urbanites and countrymen alike, one who is a top-speeded chariot-warrior aamong the emperors of Ikshwaku kings, one who has performed many Vedic rituals, a virtuous one, a great controller, a saint-like kingly sage, one who he is renowned in all the three worlds, a mighty one with all his enemies eradicated, nevertheless who has friends, one who conquered all his senses, one who is similar to Indra, or Kubera on earth with his wealth, accumulations and other possessions, he that king Dasharatha while dwelling in the city of Ayodhya protected the world, like Manu, the foremost protector of mankind.
He that truth-abiding king, who adheres to the three-fold virtues rules the vast of that kingdom from that best city Ayodhya, as Indra rules heaven from his capital Amaravati. In that best city Ayodhya all are exuberant yet virtuous ones, and scholars are variously learned ones, people are satisfied with their own riches, they have no greed, and they advocate truthfulness alone.
None with meagre accumulations is there in that great city and no householder is there without unearned means, and without cows, horses, monies or cereals and who could not sustain his family.
An ordinary family kuTumba is an assemblage of the householder, his wife, two of his parents, two sons, two daughters-in-law, one daughter, and one guest, totalling to ten members.
None can see a lustful person, or a miser or a cruel one anywhere in that Ayodhya, along with nondescripts or non-believers, for there are no such persons. All the ladies and gentlemen in that city are virtuous in mind, self-controlled ones, they are all self-satisfied like great saints, and both in their conduct and character they are blameless.
In that city none is there without his earrings, headgear, or garlands, none is an enjoyer of lowly things, or misses his regular oil-baths, or with an un-creamed body with sandalwood paste or with other body cream, or with an un-perfumed physique.
Earrings are the indicators of scholarship, and there are grades in their make and design, on par with the education one receives. The headgears present their social status, while other decorations are to exhibit their lavishness.
There is none who is famsihed, an uncharitable one in his nature, one with an undecorated body with ornaments like bracelets or chest plates, and there is none without a heart. There is none someone who is without sacrificial fires, and none without performing sacrificial rituals, and none is low in living; neither an immoral, nor a bastard nor even a thief, can be found in Ayodhya. The sense-controlled scholarly Vedic Brahmans are always engaged in their rituals, and they donate the education of Vedas to their students, as well practice their own, and while receiving donations they are principle-minded.
The donations received by Vedic scholars are not alms to beggars or charities to the destitute. The Vedic scholars do not receive them from anybody or everybody. There are set rules to accept such donations like cows, gold coins, villages, temples etc., from a befitting hand. Otherwise, the recipient is destined to go to Hell for having received greedily. Thus, if ever somebody wants to donate to such a scholar he should first notify his bona fides, which are verifiable by the recipient. Another kind of donation is referred here as daana adhyana, meaning that these scholars while receiving donations from a righteous source, they also have to donate something to others. It is the education in Veda, which they have to impart to their students free of any charge and that too, to the befitting students only. Thus, the words, daana and pratigrahaNa mean all these rules to accept a donation or to accord it.
There is no atheist, no liar, and none is less learnt in Veda-s, and no one is found to be jealous, or disabled, or unscholarly person. None can be found anywhere in Ayodhya without the knowledge of the six ancillaries of Veda-s like astrology, prosody, grammar etc., none a non-performer of the prescribed rituals, and none a non-donor in thousands, thus none with a saddened heart, turmoil in mind or agonised in will is there.
Whoever it may be, either a gentleman or a lady, none is without wealth, even none without elegance or devoid of devotion to their king, and it is impossible to see suchlike person in Ayodhya. In the four-caste system, from the first caste to the last, everyone is a worshipper of deities and guests and everyone is also faithful, illustrious, valiant, and each one is a brave one.
Though the word 'caste - Spanish and Portuguese casta ‘lineage, race, breed’ is distasteful, it is used here for an easy communication. Latin classis ‘assembly’ or section of society would be more suitable.
Longevity is there for all of the people, all are with virtuosity and truthfulness, and they lived in that best city along with their sons, grandsons and their ladies.
The warrior class Kshatriya-s is turned towards the Brahmans, the scholarly class, for intellectual and religious support. The trading class, Vyasya-s, is the follower of the Kshatriya-s, the ruling class, for the state's economy is dependent on the rulership. And the fourth one, Shuudra-s, the working class, while performing its own duties, is always working for the other castes.
That city is well protected by that king from Ikshwaku dynasty namely Dasharatha, like Manu, the foremost king of mankind in earlier times. That city Ayodhya is replete with firebrand like skillful warriors that are intolerant of insults, and who have prosecuted their education in archery, chariot-wars, swordplay etc. and with them it is like a cave replete with lions.
That city is full with best horses born in countries like Kaambhoja, Baahlika, Vanaayu, and also in river-bed counties, which are like the horse of Indra namely ucChiashrava.
It is said that the horses born in the rivers [nadii+ja] are brought to the city Ayodhya. They are not water horses but horses born at the place where the historically prominent Seven Rivers of Indus Valley Rivers flow. Here again an account of countries is given as a glimpse. These countries Kambhoja, Bahlika, Vanayu may not be taken as the provincial countries within the present day India. Prior to the present-day peninsular India, the belt from Himalayas to Alps had a great rapport in cultural and trade exchanges without demarcations of east or west, which paved the way for Alexander, the Great, towards India. Sometime back, say during 1985-87, the National Geography magazine contained a beautiful article under the heading " IRAQ, the crucible of civilisation ," Merle Severy, as its Asst. Editor. In its carefully worded introduction, it is stated that Iraq is "the traditional birthplace of man for Jews, Christians and Muslims... " On the other hand, Hindus naturally believe that the Southward Himalayan region is the birthplace of man. In the same article, the regions around Euphrates and Tigris are said to be the "Fertile Crescent, the cradle of Western civilization ... in the third millennium BC ". Further that " To the east a similar florescence occurred in the Indus and Yellow River Valleys... " This florescence in Indus Valley and far eastward did not occur later to Mesopotamian or Babylonian civilisations but flourished much earlier, as per Hindu scripts and the dating of which is the eternal question like Aryan Question. However, Hindu scripts centre the present world, Bhuuloka, surrounding Meru Mountain and its geography includes the land unto Rome, Russia, China. We will refer to Meru mountain-oriented geography and its geographical account at the appropriate place. Since Ramayana dates back to Buddhism and Buddhism's westward spread is unto Afghanistan, the Kings of Ramayana must have had no problem to draft horses from Persian, Arabian or the other of Middle East countries. These countries are always famous for horse breeding, right from the days of Ramayana to Moses. Hence the accounts of horses and the countries from where they are brought may be treated as cross-continental culture. Since history believes only in the unearthed iconography and the epics or their content can not stand to the carbon-testing, the countries named here as Kambhoja, Baahlika may nearly mean Babylonian, Mesopotamian, Arabian or other unknown or unearthed historic countries of the crucible of Western civilisation, Iraq. Vanaayu, another country referred may nearly mean Roman, as Persians term Greeks as Unani in India, advent to the arrival of Alexander, the Great. We still have an herbal medication called Unani, a hybrid between Ayurveda, Greek and Persian herbal treatments.
Born in Vindhya Mountains, and also from Himalayan regions, mighty are the elephants fully vigorous and fattened ones, and most powerful in their strength and each in similitude is a huge mountain. High bred from the classes of Iravata, the Elephant of Lord Indra, and from Mahapadma, Anjana and Vamana, too...are the elephants of that city.
It is said that eight elephants from eight corners called aSTa diggaja support the Universe. And these eight elephants have their presiding deities. From those eight elephants, four are prominent. They are iravata , the Elephant of Indra, anjana , the Elephant of varuNa , the Rain-god, vaamana , the Elephant of Yama, the Lord of Death, and another is punDariika . Thus, the elephants of Ayodhya are termed as divine breed.
That city is always full with vigorous and mountain like elephants bred mainly from three classes viz., Bhadra, Mandra and Mriga. And inter-bred among these three main classes are Bhadra-Mandra, Mandra-Mriga, Bhadra-Mriga and the like.
The bhadra is the elephant class for King's ride, called bhadra gaja . It is a state elephant with high honors and for occasional or ceremonial use. mandra and mR^iga are classes of breed tamed and used in wars or for the ride of other nobility. These are the essential mammals used for other lifting and carrying works.
While residing in which city King Dasharatha ruled the world that city is further fortified up to two more yojana-s outside city, true to its name a yodhya , an un-assailable one. In which city the great resplendent and admirable king Dasharatha resided, he ruled the world from that city with silenced enemies, like the moon governing the stars.
With gorgeous arches, castle-door-bars and with amazingly built houses that city is magnificent and auspicious one, and full with thousands of provincial kings too, and king Dasharatha, a coequal of Indra, indeed ruled that city which is true to its name.
Thus, this is the 6th chapter in Bala Kanda of Valmiki Ramayana, the First Epic poem of India.
Valmiki Ramayana - Bala Kanda in Prose Sarga 7
The truthful and upright characters of the ministers of Dasharatha are portrayed, who make the rulership meaningful with their virtuous, skilful and efficient administration. Along with the political ministers, the religious ministry is also portrayed.
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The misters for the great soul from Ikshvaku kings of Emperor Dasharatha, are epitomised ones of their tactfulness, adroitness and are always obliged to undertake welfare activities of their king and the kingdom. Eight ministers are there for that valiant and glorious King Dasharatha, who are clean at heart and are involved in the works of the king and kingdom at all time.
Dhristi, Jayantha, Vijaya, Suraashtra, Raashtravardhana, Akopa, Dharmapaala, are seven, and Sumantra is the eighth one.
Two are authorities in Vedic rituals, venerable saints of eminence, namely Vashishta and Vamadeva, who are the acquiescent religious ministers to King Dasharatha, and apart from these two some more religious ministers are also there to him. They are Suyajna, Jabaali, Kaashyapa, Gautama, Maarkandeya, Deerghaayu, and then Kaatyayana are the scholarly Brahmans acting as religious ministers, and along with them there are also Brahma-sages who are always the ancestral ritual scholars for Dasharatha’s family.
All the ministers are well versed in scriptures, they shun bad deeds, skilful ones in their duties with their senses regulated. Those great souls are affluent, knowers of all sciences, firmly courageous, and they are distinguished and quiet-souls, and those ministers are true to their word. They are magnificent, patient and famed ones and they smile afore they converse.
They never speak untruthful words in anger or in greed or for monetary reasons either. There is nothing unknown to them, even a little, in their own country or in the others either, or about everything that is happening or has happened, or that is going to happen, for they know them through agents. They are efficient in administration and their friendships are well examined by the king, and those ministers impose punishment even on their own sons, if situation demands it.
In collections to their treasury and to militarise their armies they are dutiful, even an unfriendly person will not be tortured, if he were not really blameworthy. They are valiant ones with engineered enthusiasm, administrators of political science, clean persons and protectors of subjects of their kingdom at all times. They do not persecute Brahman-s and Kshatriya-s to fill-up the treasury, and high degree punishments will be given on assessing that person's, or the offender's strength and weakness.
All of those ministers are clean administrators of kingdom, and are in league with each other, as such there is none anywhere, either in capital or in country, a liar. None with an evil-mind or with an interest in other man's wife is there, and thus on whole in the kingdom and also like that in the capital, there is an undisturbed society.
Well-dressed and well-decorated and they the ministers of King Dasharatha, observe decency in the interest of the king and also of the kingdom, with diligence and with a truthful-eye. They acquired good qualities from their mentors and they are renowned by their expertise, and even in foreign countries they are famous for their intellectual determinations in all affairs.
Versatile and virtuous are they the ministers and there is none who discarded his virtuosity, and they are the determiners of truce or war, and by their nature they possess opulence. They are capable to keep up the confidentialities of strategies, and also capable to apply their mind even in micro-affairs, and they know moral science comprehensively, and above all, they are gentle articulators. With such effectual and good-natured ministers the king exalted Dasharatha ruled the eart.
He that most generous one among men, Dasharatha, while observing through spies, and to protect people righteously, and to give a good governance to them, he forsook unrighteousness and became a generous king avowed to truthfulness alone, and thus he that Dasharatha ruled the earth, which rulership is renowned in all the three worlds.Emperor Dasharatha has not encountered either a superior or an equal in his kingship, and to him there are many friends, subdued are his provincial kings and eliminated is thorniness by his own valour. He thus ruled the world like Indra would in Heaven.
In the company of those ministers, who are conducive to the strategies, interested in the king and subjects as well, skilful and efficient ones, he that King Dasharatha obtained brilliance, like the rising Sun along with resplendent sunrays.
Thus, this is the 7th chapter in Bala Kanda of Valmiki Ramayana, the First Epic poem of India.
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
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