Chapter [Sarga] 3

Book I : Bala Kanda - Book Of Youthful Majesties

Chapter [Sarga] 3

Introduction

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

1. dharmaatmaa= virtue-souled one, Valmiki; dharma artha sahitam= probity, prosperity, abounding in; hitam= propitious one [too]; tat= that; vastu samagram= essence of the epic, in its entirety; shrutvaa = on hearing; = tasya dhiimataH vR^ittam= of that, dexterous [Rama's,] that which has happened; yat= that which is there; [tat= that]; vyaktam bhuuyaH anveSate = that which is known [in detail,] further, searched for.

On hearing the essence of Ramayana from Sage Narada, which is abound with probity and prosperity, and a propitious one too, that virtue-souled Valmiki started searching for further known details in the legend of that dexterous Rama. [1-3-1]

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upaspR^isya udakam samyak muniH sthitvaa kR^itaa~njaliH |
praachiina agreshhu darbheshhu dharmeNa anveshhate gatim || 1-3-2

2. muniH= that saint; praachiina agreSu = eastward, having apices; darbheSu= sacred darbha grass [and its mat]; sthitvaa= on abiding, on sitting; udakam upaspR^ishya= water, on touching; kR^ita a~njali= making palm fold in reverence; dharmeNa= yogaja dharmeNa - [dharmaakuutam]= by yogic dharma; samyak= comprehensively; anveSate gatim= is searching, for course [of Ramayana.]

Valmiki sitting on a sacred grass mat, whose apices are towards east, touched waters, and made his palms adjoined in reverence, and then by his yogic insight started to search comprehensively, for the narrative course of Ramayana. [1-3-2]

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.

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raama lakshmaNa siitaabhiH raaj~naa dasharathena cha |
sa bhaaryeNa sa raashhTreNa yat praaptam tatra tattvataH || 1-3-3
hasitam bhaashhitam cha eva gatiryaayat cha cheshhTitam |
tat sarvam dharma viiryeNa yathaavat sa.mprapashyati || 1-3-4

3-4. raama lakshmaNa siitaabhiH= of Rama, Lakshmana and Seetha; raaj~naa dasharathena ca= by king, Dasharatha, also; sa bhaaryeNa [raameNa]= along with, wife - Rama along with his wife; sa raaSTreNa= along with, kingdom - when Rama was in State; yat praaptam= what, bechanced; tatra [yaa] gatiH= in that, [which,] course is there; yaavat ceSTitam ca= everything, [they] have done, and; hasitam bhaaSitam ca eva= their smiles, their conversations, also, thus; tat sarvam= that, entirely; tatvataH= veritably; yathaavat= as it is; dharma viiryeNa= by the power of his ascesis, or by the power given by Brahma; sam pra pashyati= wholly, clearly, seen.

Of Rama, Lakshmana and Seetha, also of King Dasharatha and his wives, and what bechanced on Rama when he was in kingdom Ayodhya; Valmiki veritably discerned all that. Their smiles, their conversations, their deeds and the succession of events as well, all of them the sage saw wholly and clearly by the yogic power conferred by Brahma...] [1-3-3-4]

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

5. strii tR^itiiyena ca= lady, as third [partner in forests,] also; vane charataa= in forests, while trekking; satya sandhena raameNa= truth-abiding, by Rama; tathaa yat praaptam= then, that which, bechanced; tat sarvam ca= all, that, also; anvavekshitam= by him discerned.

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

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

6. tataH= then; dharmaatmaa= virtue-souled sage; yogam aasthitaH= while in yogic, exaltation; tatra= in there [in story]; puraa yat nirvR^ittam= earlier, what, has happened; tat sarvam = that, all; paaNau amalakam= in palm, citric fruit [myrobalan]; yathaa= as though; pashyati= saw.

Then that virtue-souled sage saw what all that has happened earlier, by his yogic exaltation, as though it is a citric fruit in his own palm. [1-3-6]

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

7-8. mahaa matitiH= highly intellectual [sage]; saH= he; tat sarvam= that, all; tattvataH= in actuality; dharmeNa= by yogic prowess; dR^iSTvaa= having discerned; kaama artha guNa samyuktam= pleasures, prosperities, their qualities, abounding with; dharma artha guNa vistaram= probity [alone,] its meaning, [and its] qualities, elaborately; ratna aaDhyam= with gems, replete; samudram iva= ocean, like; sarva shruti manoharam= for all, listenable, delightfully [or by all Veda-s acceptable, or in any kind of listening, a pleasing one; abhiraamasya raamasya= one who delights all, of such a Rama; sarvam kartum udyataH= that, all, to author, pioneered

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

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

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

9. bhagavaan saH muniH= godly, he, that saint [Valmiki]; mahaatmanaa naaradena= by Divine Soul, Narada; puurvam yathaa kathitam = earlier, as to how, narrated; [in that way only]; raghu vamshasya= one who is born in Raghu's lineage - of Rama; charitam chakaara= legend, made [composed.]

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

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

10. raamasya janma= Rama's, birth [incarnation]; su mahat viiryam= very, great, valour; sarva anukuulataam= to all, gracefulness; lokasya priyataam= universal, cordiality; kshaantim= perseverance; satya shiilataam= truthful, conduct; saumyataam = courteousness; [Valmiki described.]

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

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

11. anyaaH naanaa chitra kathaa ca = other, very many, amusing, stories, also; vishvaamitra ahaayena = Viswamitra, with help of; jaanakyaaH ca vivaaham ca= with Janaki, also, marriage, and; dhanuSaH ca vibhedanam= great bow's, breaking of; [are narrated.]

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

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

12. raama= Rama; raama=Parasuraama; vivaadam ca= dispute, also; guNaanaan= merits of; daasarathe tathaH=Dasharatha's son [Rama's]; tathaa= that way; tathaa abhishhekam raamasya = likewise, [preparations for ] anointing, of Rama; kaikeyyaa duSTa bhaavataam= Kaikeyi's, vicious, intentions.

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

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

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

13. vighaatam ca abhishhekasya= disruption also, royal unction; raaghavasya vivaasanam= Rama's, exile; raaj~naaH shokam vilaapam ca= King Dasharatha's, grief, bewailing, and; para lokasya cha aashrayam= into other, world, also, taking shelter [demise.]

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

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

14. prakR^itiinaam visaadam ca= of subjects, grieving, also; prakR^itiinaam visarjanam= people, leaving off; niSaada adhipa samvaadam= tribal, chief, conversing with; suuta upaavartanam tathaa= charioteer, returning of, thus.

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

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

15. ga.ngaayaaH ca =api samtaaram= River Ganga, also, even, crossing over; bharadvaajasya darshanam=of Sage Bharadwaja, seeing; bharadvaaja abhyanuj~naanaat= on Bharadwaja's advise; chitrakuuTasya darshanam= of Chitrakuta, seeing [visiting.]

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

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

16. vaastu karma nivesham= architectural, work [construction of hermitage,] dwelling in; bharata agamanam tathaa= Bharata's, arrival, then; prasaadanam ca raamasya = for graciousness, also, of Rama; pituH salila kriyaam= to father, water, oblation.

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

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

17. paadukaaH agrya abhishhekam ca= sandals [shoes,] high, enthroning, also; nandi graama nivaasanam= in Nandigrama, village, living of Bharata; dandaka araNya gamanam= Dandaka, forests, going; viraadhasya vadham tathaa= Viradha's, killing, thus.

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

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

18. darshanam sharabha.ngasya= seeing [visiting,] Sage Sarabhanga; sutiikshNena samaagamam= with Sage Suteekshna, meeting; anasuuya samaakhyaa ca=Anasuya, the hermitic lady, smooth, speaking, also; a.nga= body; raaga= applying cream; ca= also; arpaNam=giving.

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

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

19. darshanam ca api agastasya= seeing, also, even, Sage Agastya,; dhanuSaH grahaNam tathaa = a great bow, taking, likewise; shuurpaNakhaaH cha samvaadam= with Suurpanakha, also, palaver; viruupa karaNam tathaa= defacing, likewise.

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

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

20. vadham khara trishirasaH= killing of, Khara, Trisirasa [the demons]; utthaanam raavaNasya ca= upsurge, of Ravana, also; maariichasya vadham ca eva= of Maariicha's killing, also, thus; vaidehyaa haraNam tathaa= Vaidehi's, abduction, like that.

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

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

21. raaghavasya vilaapam ca= Raghava's, anguish, also; gR^idhra raaja nibarhaNam = eagle, mighty, slaying; kabandha darshanam ca eva= Kabandha, the demon, is seen, also, thus; pampaayaaH ca api darshanam= Pampa, the lake, also, thus, seeing.

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

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

22. shabarii darshanam cha eva= Sabari, the hermitic lady, seeing her, also, thus; phala muula ashanam tathaa= fruits, tubers, eating, thus; pralaapam cha eva= bemoaning, also, thus [of Rama]; pampaayam hanumat darshanam= at Pampa Lake, Hanuma, sighted at.

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

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

23. R^ishyamuukasya gamanam ca= to Rishyamuka, going, also; sugriiveNa samaagamam= with Sugreeva, meeting; pratyaya utpaadanam sakhyam= confidence, generating, making friendship [with Sugreeva]; vaali sugriiva vigraham= Vali, Sugreeva, duel of.

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

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

24. vaali pramathanam chaiva= Vali, elimination, also, thus; sugriiva pratipaadanam= Sugreeva is established; taaraa vilaapanam= Tara, [wife of Vali,] grieving of; samayam varSa raatra nivaasanam = consented, rainy, nights [and days,] stopover.

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

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

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

25. kopam raaghava simhasya= wrath of, Raghava, the lion; balaanaam upasa.ngraham = troops, foregathering; dishaH prasthaapanam ca eva= to quarters, sending, also, thus; pR^idhivyaaH ca nivedanam= earth's [topography,] also, description.

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

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

26. a.nguliiyaka daanam ca= ring of his finger, giving, also; R^ikshasya bila darshanam= Riksha's cave, seeing; praayopaveshanam ca api= fasting unto death, and, even; sampaateH ca api darshanam= Sampaati, also, even, seeing.

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

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

27. parvataa aarohaNam ca api= mountain [Mt. Mahendra,] climbing, also, even; saagarasya ca la.nghanam= of ocean, also, leaping out of; samudra vachanaat ca eva= Ocean's, advise of, also, thus; mainaakasya ca darshanam= of Mt. Mainaka, also, seeing.

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

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

28. raakshasii tarjanam ca eva= demoness', killing, also, thus; Chaayaa graahsya darshanam = seeing, Simhika, the capturer by shadow, seeing her; simhikaayaaH ca nidhanam= Simhika's, killing, also; la.nkaa malaya darshanam= Lanka, mountain's, seeing.

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

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

29. raatrau la.nkaa pravesham ca= in night, Lanka, entering, also; ekasya api vichintanam= lonely, even though, thinking over; aapaana bhuumi gamanam= liquor consuming, place, going to; avarodhasya darshanam= of secure place, [the palace chambers,] seeing.

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

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

30. darshanam raavaNasya api= seeing, Ravana, also; puSpakasya ca darshanam= of Pushpaka [aircraft,] also, seeing; ashoka vanikaayaanam= in Ashoka, gardens; siitaayaaH ca api darshanam= Seetha, also, even, seeing.

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

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

31. abhij~nana pradaanam ca= credential, presenting, also; siitaayaaH ca api bhaaSaNam= with Seetha, also, even, talking; raakshasii tarjanam ca eva= demoness', scaring also, thus; trijaTaa svapna darshanam= Trijata, the demoness', dream, witnessing.

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

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

32. maNi pradaanam siitaayaaH= jewel, giving, of Seetha; vR^iksha bha.ngam tatha eva ca = trees, uprooting, thereby, thus; raakshasii vidravam ca eva= demoness', fleeing, also, thus; kinkaraaNaam nibarhaNam= guards [at the gardens,] killing of.

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

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

33. grahaNam vaayusuunoH ca= capture of, son of Vayu, Air-god, also; lankaa daaha abhigarjanam= Lanka, burning of, [and his blaring at demons]; prati plavanam eva= return, flying, also; atha madhuunaam haraNam tathaa = then, honey, appropriation of, thus.

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

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

34. raaghava ashvaasanam ca eva= Rama, solaced, also, thus; maNi niryaatanam tathaa= jewel, presenting, thus; sangamam samudreNa ca= meeting, with Ocean, also; nala sethoH ca bandhanam=by Nala, bridge, also, building.

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

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

35. prataaram ca samudrasya= crossing over, also, ocean; raatrau la.nka avarodhanam= in night, Lanka, seizure of; sansargam vibhiiSaNena vadha upaaya nivedanam=meeting, with Vibheeshana, killing, scheme, telling.

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

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

36. kumbhakarNasya nidhanam= Kumbhakarna, destruction of; meghanaada nibarhaNam = Meghanada, elimination of; raavaNasya vinasham ca= Ravana's, annihilation, also; siitaa avaaptim areH pure= Seetha, restitution of, in enemy's, city.

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

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

37. vibhiiSaNa abhishhekam cha= Vibheeshana's, crowning; puSpakasya ca darshanam= Pushpaka, aircraft, seeing it; ayodhyaayaaH ca gamanam= to Ayodhya, also, going; bharadvaaja samaagamam= Sage Bharadvaja, meting with.

Crowning of Vibheeshana as the king of Lanka, after the demise of Ravana, and also Rama's seeing Pushpaka, the divine aircraft, and returning to Ayodhya in that aircraft... and Rama's meeting Sage Bharadvaja on his way back... [1-3-37]

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

38. preSaNam vaayu putrasya= sending of, Air-god's son, [Hanuma]; bharatena samaagamam = with Bharata, meeting; raama abhishheka abhyudayam= Rama's, coronation, festival; sarva sainya visarjanam= all, military, disbandment; sva raaSTra ra~njanam ca eva= own, kingdom, to the delight of State; vaidehyaaH ca visarjanam= Seetha, too, desolation of.

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

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

39. bhagavaan vaalmikiH R^iSiH= godly, Valmiki, the sage; raamasya yat kimchit= of Rama, whatever, minutely; vasudhaa tale= on earth's, surface; anaagatam ca = futuristic, also; tat= that; uttare= in later [parts of, coming chapters]; kaavye= of epic; chakaara= composed.

The godly sage Valmiki composed the futuristic legend of Rama while on the surface of earth, and whatever that is there, that is composed in all its minuteness, in the coming chapters of this epic. [1-3-39]

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

iti vaalmiiki raamaayaNe aadi kaavtye baala kaaNde tR^itiiyaH sargaH

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

Continue reading...

Chapter [Sarga] 2

Book I : Bala Kanda - Book Of Youthful Majesties

Chapter [Sarga] 2

Introduction

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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naaradasya tu tadvaakyam shrutvaa vaakya vishaaradaH |
puujayaamaasa dharmaatmaa saha shishhyo mahaamuniH || 1-2-1

1. naaradasya+tu= of Narada, but; tat+vaakyam+shrutvaa= that, sentence, on hearing; vaakya+ vishaaradaH = sentence-maker, the eminent [Valmiki]; dharmaatmaa= virtue minded one [Valmiki]; mahaa muniH= great sage [Valmiki]; saha+shiSyaH= along with, disciples; puujayaamaasa = started to revere [Narada.]

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. [1-2-1]

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yathaavat puujitaH tena devarshhiH naaradaH tathaa |
aapR^icChaiva abhyanujJNaataH sa jagaama vihaayasam || 1-2-2

2. deva+R^ishi= divine, sage; saH= he, Narada; tena= by him [by Valmiki]; thathaa= that way; yathavat+ puujitaH= befittingly, when worshipped; apR^icCha+eva= on seeking [permission to leave, ] only; abhyanuj~nataH = having permitted [by Valmiki]; vihaayasam= heaven-ward; jagaama= went away.

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. [1-2-2]

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sa muhuurtaM gate tasmin devalokam muniH tadaa |
jagaama tamasaa tiiram jaahnavyaat aviduurataH || 1-2-3

3. tasmin= he, that Narada; muhuurtam+devalokam+gate= in a moment [after,] god's world, heavens, having gone; tadaa= then; saH+muniH= he, that sage Valmiki; jaahnavyaat+avi + duurataH= from Jahnavi river, not, far-off from [nearby to Jahnavi river]; tamasaa+tiiram+ jagaama= Tamasa, riverbanks, proceeded to.

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.] [1-2-3]

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sa tu tiiram samaasaadya tamasaayaa muniH tadaa |
shishhyam aaha sthitam paarshve dR^ishhTvaa tiirtham akardamam || 1-2-4

4. saH+tu= he [Valmiki,] but; muniH+tadaa= sage, then; tamasaayaa= of Tamasa; tiiram+ sam aasaadya= riverbank, drawing nigh of; a+kardamam= not, filthy; tiirtham= strand [n. esp. poet. the margin of a sea, lake, or river, esp. the foreshore]; dR^iSTva= on beholding; paarshve +sthitam+shiSyam+aaha= at his side, available, to disciple, spoke to.

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. [1-2-5]

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akardamam idam tiirtham bharadvaaja nishaamaya |
ramaNiiyam prasanna ambu san manushhya mano yathaa || 1-2-5

5. Bharadwaja; san+manuSyaH+manaH+yatha= noble, man's, bosom [heart,] as with; a+kardamam = not, filthy; prasanna+ambu= with pleasant, waters; ramaNiiyam= heart pleasing; idam+ tiirtham = this, watery foreshore; nishaamaya= you behold.

"Oh! Bharadwaja, un-filthy is this watery foreshore, and with pleasant waters it is heart pleasing... like a noble man's heart... behold it... [1-2-5]

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nyasyataam kalashaH taata diiyataam valkalam mama |
idam eva avagaahishhye tamasaa tiirtham uttamam || 1-2-6

6. taata= my dear; nyasyataam+kalasaH= be kept [there,] handy-vessel [kamanDulu]; mama= to me; valkalam+diiyataam= jute loincloth, be given; idam= this; uttamam= best one; tamasa+tiirtham +eva= Tamasa, ford, only; avagaahiSye= I will enter.

"Keep that handy-vessel there, and give me my loincloth... I will enter only this best ford of Tamasa River... [1-2-6]

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evam uk{}to bharadvaajo vaalmiikena mahaatmanaa |
prayachchhata muneH tasya valkalam niyataH guroH || 1-2-7

7. mahaatmanaa+valmiikena= by great-souled, Valmiki; evam+uktaH= that way, when said; bharadwaajaH = bharadwaaja; guroH+niyataH= to his mentor, humble one; tasya+muneH= to that, saint; valkalam+ prayacChata = jute-cloth, gave.

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. [1-2-7]

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sa shishhya hastaat aadaaya valkalam niyatendriyaH |
vichachaara ha pashyan tat sarvato vipulam vanam || 1-2-8

8. niyata+indriyaH= who controlled, his senses [self-controlled]; saH= he, Valmiki; shishya+hastaat= from disciple's, hands; valkalam= loincloth; aadaaya= on taking; pasyan+sarvataH = looking, everywhere; tat+ vipulam +vanam= that, wide, of forest; vichachaara + ha= ambled [towards waters,] indeed.

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. [1-2-8]

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tasya abhyaashe tu mithunam charantam anapaayinam |
dadarsha bhagavaan tatra krau~NchayoH chaaru nisvanam || 1-2-9

9. bhagavaan= godly sage; tatra= there; tasya+abhyaase+tu= in its [in foreshore's,] vicinity, but; an+ apaayinam= not, leaving one another [or, not fearing any danger]; charantam= moving about, flying there about; chaaru+nisvanam= charmingly, calling; krounchayoH= two krouncha birds [ a lovely birds, not herons]; midhunam= a couple; dadarsha= he saw.

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 [1-2-9]

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tasmaat tu mithunaat ekam pumaa.msam paapa nishchayaH |
jaghaana vairanilayo nishhaadaH tasya pashyataH || 1-2-10

10. papa+nischayaH= evil, in intent; vyra= enemy of; nilayaH= abode of birds and animals [foresters]; nishaadaH= a tribal hunter; tasmaat+midhunaat+tu = of them, but, of couple; ekam= one; pumaamsam = male one; tasya+pasyataH= on his [Valmiki's,] while looking on; jaghaana= killed.

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. [1-2-10]

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tam shoNita pariitaaN^gam ceSTamaanam mahiitale |
bhaaryaa tu nihatam dR^iSTvaa ruraava karuNaam giram || 1-2-11
viyuktaa patinaa tena dvijena sahachaariNaa |
taamra shiirshheNa mattena patriNaa sahitena vai | 1-2-12

11-12. patinaa= with husband; saha+chaariNa= along with, moving - together with husband; which husband is with; taamra+siirSeNa= red, crested [hence, a proud male bird]; matten= lusty one; patriNaa= with good wings; sahitena= always has his heart for her; tena+ dvijena= from that, bird [male bird]; viyukata= separated; bhaarya + tu = wife of, [female bird,] but; nihitam= slain; mahii+tale= on ground, surface; ceSTamaanam= reeling; shoNita+ pariita + angam= blood, covered, wings [or body]; tam+dR^iSTva= him [male bird,] on seeing; karuNaam + giram= with piteous, utterances; ru+raava= lamented, wailed sounds; vai= really.

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. [1-2-11, 12]

Comment: 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.

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tathaa vidhim dvijam dR^ishhTvaa nishhaadena nipaatitam |
R^isheH dharmaatmaanaH tasya kaaruNyam samapadyata || 1-2-13

13. tathaa+vidhim= that, way; niSadena+nipaatitam= by hunter, felled; dvijam+ dR^iSTvaa= at bird, on seeing; dharma+aatmaanaH= for that kind, hearted one; tasya+ R^isheH= to that, sage; kaaruNyam+ samapadyata = compassion, occasioned.

On seeing at that bird felled that way by the tribal hunter, compassion is aroused in that kind-hearted sage Valmiki. [1-2-13]

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tataH karuNa veditvaat adharmo ayam iti dvijaH |
nishaamya rudatiim krounchiim idam vacanam abraiit || 1-2-14

14. tataH= then; dvijaH= sage Valmiki; rudatiim+krounchiim+nishaamya= wailing, female bird, on seeing; karuNa+veditvaat= compassion, haunting him; ayam+adharmaH+iti= this is, unjust, thus thinking, thus apperceiving; idam+vacanam+abraiit= this, sentence, said, uttered.

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... [1-2-14]

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maa nishhaada pratiSThaamtva | magamaH shaashvatiiH samaaH |
yat krau~Ncha mithunaat eka | mavadhiiH kaama mohitam || 1-2-15

15. ama= oh, ill-fate one; niSaada= oh, hunter; tvam= you; yat= by which reason; krau~Ncha+ mithunaat = of krouncha, couple; ekam= one; kaama+mohitam= in lustful, indulged in; avadhiiH= killed; [tat= by that reason]; shaashvatiiH= ever lasting; samaaH= ages to come; pratiSThaam+tu= reputation, but; maa+gamaH= don't, get.

"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..." [1-2-15]

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.

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tasya evam bruvataH chintaa babhuuva hR^idi viikshataH |
shokaartena asya shakuneH kim idam vyaahR^itam mayaa || 1-2-16

16. evam+bruvataH= thus, having said; viikshataH= while pondering; tasya+hR^idi= in his, heart; asya+ shakuneH= for that, bird; shoka+aartena+mayaa= in anguish, annoyed, by me; vyahR^itam= uttered utterance; idam= this [verse, sentence]; kim= what is it; [thus] chintaa+ babhuva =cogitative [of the lines,] he became.

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. [1-2-16]

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chintayan sa mahaapraaj~naH chakaara matimaan matim |
shishyam cha eva abraviit vaakyam idam sa munipuN^gavaH || 1-2-17

17. chintayan= on thinking; saH= he; mahaa+praaj~naH= eminently, astute one; matimaan = intellectual sage; chakaara+matim= made up, his mind; saH+muni+pu.ngavaH= he, saint, the erudite one; shishyam= to disciples; idam+vaakyam+abraviit+cha+eva= this, sentence, spoke, also, thus.

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... [1-2-17]

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paada baddhaH akshara samaH tantrii laya samanvitaH |
shokaartasya pravR^itto me shloko bhavatu na anyathaa || 1-2-18

18. me= while I was; shoka+aartsya= by anguish, annoyed; pravR^ittaH= emerged; paada +baddhaH = foot [of stanza,] arranged well; akshara+samaH= letters, metrically posited; tantrii= [tuneful like] string [instrument]; laya= rhymed well [of syllables]; samanvitaH= having in it; slokaH+bhavatu= verse, it shall be; na anyatha = not, otherwise.

"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..." [1-2-18]

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.

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shiSyaH tu tasya bruvato muner vaakyam anuttamam |
prati jagraaha sa.ntushhTaH tasya tuSToaH abhavat muniH || 1-2-19

19. shishyaH+tu= disciple, even; bruvataH= what is articulated; tasya+muneH= by that [Valmiki's,] saint; santuSTaH+pratijagraaH= felt happy, received; vaakyam+aunuttamam= word [verse,] unique one; tasya= by that; tuSTaH+abhavat+muniH= happy, became, saint.

Even the disciple happily received what that is articulated by the saint, a unique articulation, by which the saint too, became happy. [1-2-19]

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so.abhiSekam tataH kR^itvaa tiirthe tasmin yathaavidhi |
tam eva chintayan artham upaavartata vai muniH || 1-2-20

20. tataH= then; saH+muniH= that, saint; tasmin+tiirthe= in that, ford; yathaa+vidhi= as per, custom; abhishekam+kR^itva= bathing, on performing; tam+ardham+eva+chintayan= its, purport, alone, on thinking; upa+aavartata+vai= back, he came, really [returned to hermitage.]

Then that saint on performing his bathing in that ford according to custom, and still thinking on the purport of his utterance, he returned towards his hermitage. [1-2-20]

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.

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bharadvaajaH tataH shiSyo viniitaH shrutavaan guroH |
kalasham puurNamaadaaya pR^ishhThataH anujagaama ha || 1-2-21

21. tataH+viniitaH= then, obedient one; shrutavaan= one who listened many scriptures, [erudite scholar]; shishyaH= disciple; Bharadwaja; puurNam+kalasham= filled, handy-vessel; aadaya= on taking; guroH= mentor's; pR^iSTataH+anujagaama= at behind, followed.

Then Bharadwaja, the obedient disciple and an erudite scholar, for he heard and learnt many scriptures by listening, on taking handy-vessel full with water followed at the behind of his mentor. [1-2-21]

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sa pravishya aashrama padam shiSyeNa saha dharmavit |
upavishhTaH kathaaH cha anyaaH chakaara dhyaanamaasthitaH || 1-2-22

22. dharma+vit+saH= dharma, knower of, he [Valmiki]; shishyeNa+saha= disciples, along with; pravisya + aashrama+padam= on entering, hermitage's, threshold; upaviSTa= having seated; anyaH+kathaaH +ca + chakaara= other, topics, also, made - spoke about; dhyaanam+ aasthitaH= [but in] cogitation, preoccupied in.

He that knower of dharma, Valmiki, having entered the threshold of hermitage along with disciples, and having seated spoke about the day-to-day teachings and also other things, but he himself is preoccupied in cogitation on the verse. [1-2-22]

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aajagaama tataH brahmo lokakartaa svayam prabhuH |
chatur mukho mahaatejaa draSTum tam munipuN^gavam || 1-2-23

23. tataH= then; loka+kartaa= worlds, maker of [creator of 14 worlds]; prabhuH= almighty; chatur+ mukhaH= four-faced one; maha+tejaH= great resplendent one; brahma= Brahma; draSTum= to see; tam + muni + pungavam= him, that sage, the eminent; svayam= on his own; aajagaama= arrived.

Then, the great resplendent Four-faced creator of fourteen worlds, almighty Brahma, arrived there on his own, to see that eminent saint Valmiki. [1-2-23]

Comment; The deities do not usually arrive on their own, but reveal themselves after a great penance, or on raising hue and cry as is done by demon devotees. Here Brahma, one among the Trinity of Hindu mythology, arrives on his own, to execute a divine deed through Valmiki, i.e. authoring the epic, Ramayana.

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vaalmiikiH atha tam dR^iSTvaa sahasaa utthaaya vaagyataH |
praanjaliH prayato bhuutvaa tasthau parama vismitaH || 1-2-24

24. atha= then; prayataH= pious one; Valmiki; tam+dR^iSTva= Him [ Brahma,] on seeing; parama+ vismitaH= highly, surprised; sahasa+uthaaya= quickly, on getting up; pra+anjali+ bhuutvaa= humbly adjoining palms; vaagyataH= spellbound; tatsthau= stood aside.

Then that pious saint Valmiki is highly surprised on seeing Brahma, and on quickly getting up from his seat with his palms adjoined humbly, he stood aside, as he is spellbind. [1-2-24]

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puujayaamaasa tam devam paadya arghya aasana vandanaiH |
praNamya vidhivat ca enam pR^ishhTvaa ca eva niraamayam || 1-2-25

25. tam+enam+devam= him, such a one, at that god; praNamya+vidhivat+ca= on making obeisance, customarily; pR^ishhTvaa+ca+eva+niraamayam= on inquiring, also, thus, well-being; paadya= water for washing the feet; arghya= water for drenching the thirst; aasana= seating on a high seat; vandanaiH= with adorations; puujayaamaasa= started to venerate.

Valmiki venerated Brahma, on inquiring into his well-being, washed his feet, drenched his thirst, seated him to rest, and adored at best with customarily obeisance. [1-2-25]

Comment: Brahma is one in the Trinity of Brahma, Vishnu, and Shiva. Brahma is pictured to have four faces, each representing one Veda, where Vedas are four in number. He is the creator of worlds, while Vishnu maintains them, and Shiva dissolute them. The concert of Brahma is Saraswati, the presiding deity of speech, who was earlier requested by Brahma to be on the tongue of Valmiki to utter the poem, [as at 1-2-15] as an intuition to Valmiki. Thus Brahma now arrives to ordain Valmiki to author Ramayana.

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atha upavishya bhagavaan aasane parama archite |
vaalmiikaye ca R^iSaye sandidesha aasanam tataH || 1-2-26

26. atha+upavishya+bhagavaan+aasane= then, seated, god, on [high] seat; parama+archite = very, highly, worshipped [by Valmiki]; vaalmiikaye+ca+R^iSaye= at Valmiki, also, Sage; sandidesha+ aasanam+tataH= beckoned, to a seat, then.

Then god Brahma, who is seated on a high seat, very highly worshipped by Valmiki, also beckoned at Valmiki to take a seat. [1-2-26]

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brahmaNaa samanuj~naataH so.api upaavishat aasane |
upaviSTe tadaa tasmin saakshaat loka pitaamahe | 1-2-27
tat gatena eva manasaa vaalmiikiH dhyaanam aasthitaH ||

27-28a. saH+api= he [Valmiki,] even; brahmaNaa+sam+anuj~naataH= by Brahma, duly, permitted; aasane+ upaavishat= on seat, entered [sat]; tadaa= then; tasmin+loka+pitaamahe= that, worlds, Grandparent of; saakshaat= manifestly; upaviSTe [sati]= seated [before him, though]; Valmiki; tat+gatena+eva= those, happenings, only; manasaa+dhyaanam+aasthitaH= mentally, brooding, recurred.

Even though Valmiki sat on his seat when duly permitted by Brahma, and though the Grandparent of the worlds is manifestly sitting before him, but the same broodings on those happenings occurred on that day have recurred on his mind. [1-2-27-28a]

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paapaatmanaa kR^itam kaSTam vaira grahaNa buddhinaa | 1-2-28
yat taadR^isham chaaruravam krauncham hanyaat akaaraNaat ||

28b-29a. yaH= he who, tribal hunter; taadR^isham= that sort of; chaaru+ravam+ krauncham = cutely, calling, krouncha bird; a+kaaraNaat+hanyaat= without, reason, kills [killed]; vaira+grahaNa+ buddhinaa= enemy [kill,] capturing, intending to; paapa+aatmanaa= by evil, souled one; kaSTam+kR^itam= hardship, is caused.

"He that tribal hunter, who killed a cutely calling krounch bird for no good reason than intending to capture the kill, is an evil souled one that caused hardship..." [1-2-28b-29a]

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shochan eva punaH kraunchiim upa shlokam imam jagau | 1-2-29
punar antargata manaa bhuutvaa shoka paraayaNaH ||

29b-30a. shoka+paraayaNaH= melancholic mood, one in [Valmiki]; antargata+manaa+ bhuutvaa= depths of, mind, on turning in; punaH= again; kraunchiim+shochan+eva= about krouncha bird, on thinking, only; shlokam+imam+upajagau = verse, this [verse,] [involuntarily]sung.

Remaining in melancholic mood Valmiki turned his mind to the depth of thinking, and again thinking only on the krouncha bird he sung the same verse, involuntarily. [1-2-29b-30a]

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tam uvaacha tato brahmaa prahasan munipu.ngavam | 1-2-30
shloka evaastvayaam baddho na atra kaaryaa vichaaraNaa ||

30b-31a tataH= then; brahmaa+prahasan= Brahma, smilingly; tam+muni+pungavam+ uvaacha= to him, that saint, the eminent, spoke to; shloka+eva+tu= verse, only, but; ayam+ baddaH = that one, composed; na+ atra + kaaryaa+vichaaraNaa= not, there, need to, think through.

Then, Brahma smilingly spoke to that eminent saint Valmiki, "But, what that is composed is a verse only... and there is no need to think through... [1-2-30b-31a]

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mat cChandaat eva te brahman pravR^itte ayam sarasvatii | 1-2-31
raamasya charitam kR^itsnam kuru tvam R^ishhisattama |

31b-32a. hè+brahman= oh, Brahman; te+ayam+sarasvatii= your, that, speech; mat+ cChandaat+ eva= at my, wish, alone; pravR^itte= sprang forth; hè+R^iSi+sattama= oh, sage, the eminent; raamasya+charitam +k R^itsnam= Rama's, legend, in entirety; tvam+kuru= you, render.

"Oh, Brahman, that speech of yours sprang forth at my wish alone, hence oh, eminent sage, you shall render the legend of Rama, in its entirety... [1-2-31b-32a]

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dharmaatmano bhagavato loke raamasya dhiimataH || 1-2-32
vR^ittam kathaya dhiirasya yathaa te naaradaat shrutam |

32b-33a. dharma+aatmanaH= virtue, souled one; loke+bhagavataH= in world, godlike; dhiimataH= an intellectual; dhiirasya= intrepid one; raamasya+vR^ittam= Rama's, legend; tè+yatha+srutam+ naaradaat= by you, as heard, from Narada; kathaya= narrate.

"You shall narrate the legend of Rama, the virtuous, intellectual and an intrepid one, and a godlike person in this world as well, as you have heard it from sage Narada. [1-2-32b-33a]

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rahasyam cha prakaasham cha yad vR^ittam tasya dhiimataH || 1-2-33
raamasya saha saumitre raakshasaanaam cha sarvashaH |
vaidehyaaH cha eva yad vR^ittam prakaasham yadi vaa rahaH || 1-2-34
tat ca api aviditam sarvam viditam te bhaviSyati |

33b-35a. dhiimataH= of valorous one; saha+SoumitreH= with Sumitra's son, [Lakshmana]; tasya+ ramasya= of his, Rama's; [vR^ittam= adventures]; raakshasaanam+ca= of the demons, also; [vR^ittam= misadventures]; rahasyam+ca+prakaasam+ca= unknown, or, known, or; sarvasaH= in every detail; yat+ vR^ittam + vaidehyaa+ca+eva= which is, the plight, of Vaidehi, also, even; prakaasam+yadi+va= revealed, either, or; rahaH+vaa= unrevealed, or; yat+vR^ittam= whatever, legend happened; tat+ca= that, also; a+ viditam + api= un, known, even; sarvam+te+ viditam + bhaviSyati = all, to you, known, it will be.

"The adventures of valorous Rama along with Lakshmana, and the misadventures of demons, known or unknown in every detail, and even the plight of Vaidehi which is either revealed or un-revealed so far, and whatever legend that has happened, all that will also be known to you, even if it were to be unknown, as yet... [1-2-33b-35a]

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na te vaak anR^itaa kaavye kaachit atra bhavishhyati || 1-2-35
kuru raama kathaam puNyaam shloka baddhaam manoramaam |

35b-36a. atra+kaavye= in this, epic; te+vaak= your, word; kaachit= any one [word]; a+ nR^itaa= un, founded; na+bhavishyati= not, it results in; punyam= merit-yielding; manaH+ ramaam= heart, pleasing; raama+ kathaam= Rama's, legend; sloka+baddhaam+kuru= verse, bound, you make.

"You shall versify the heart pleasing and merit-yielding legend of Rama, and not a single word of yours will be unfounded in this epic... [1-2-35b-36a]

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yaavat sthaasyanti girayaH saritaH cha mahiitale || 1-2-36
taavat raamaayaNa kathaa lokeSu prachariSyati |

36b-37a. girayaH= mountains; saritaH+ca= rivers, even; mahii+tale= on earth's, surface; yaavat= as long as; sthasyanti= there will be; taavat= so long; raamayaNa+katha= Rama's, legend - Ramayana; lokeSu= in the world; prachariSyati= will flourish.

"As long as the mountains and even rivers flourish on the surface of the earth, so long the legend of Ramayana will flourish in this world... [1-2-36b-37a]

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yaavat raamasya ca kathaa tvat kR^itaa pracharishhyati | 1-2-37
taavat uurdhvam adhaH cha tvam mat lokeshhu nivatsyasi |

37b-38a. tvat= by you; kR^itaa= authored; yaavat= as long as; raamasya+katha= Rama's legend; pracharishyati= flourishes; taavat= till then; tvam= you; uurthvam= heavenward; athaH+ca= in netherworlds, even; mat+lokeSu= in my abode [Brahma loka]; nivatyasi= you will be dwelling, [flourishing].

"And as long as Rama's legend authored by you flourishes...till then you will flourish in heavenly, in netherworlds, and even in my abode, namely Abode of Brahma... [1-2-37]

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iti uktvaa bhagavaan brahmaa tatra eva antaradhiiyata |
tataH sa shishhyo bhagavaan muniH vismayam aayayau || 1-2-38

38b-c. bhagavaan= The Divinity; Brahma; iti+uktvaa= thus, saying; tatra+eva= there only; antaradhiiyata= vanished; tataH= then; saH+shiSyaH= along with, disciples; bhagavaan+muniH = godly, sage; vismayam+ aayayau = astonishment, came upon [wondered.]

On saying thus that Divinity Brahma vanished then and there only, and then that godly sage Valmiki came by astonishment, along with his disciples. [1-2-38b-c]

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tasya shishhyaaH tataH sarve jaguH shlokam imam punaH |
muhur muhuH priiyamaaNaaH praahuH cha bhR^isha vismitaaH || 1-2-39

39. tatha= then; tasya= his; shishyaaH= disciples; sarve= all of them; muhuH+muhuH= again, again [time and again]; priiyamaaNaaH= very delightedly; punaH= again; slokam+ imam = verse, this one; jaguH= sang; bhR^isha+vismitaaH= much astonished; pra+aahuH+cha= reciprocally recited, also.

Then all of the disciples of Valmiki sang this verse time and again very delightedly, and muchstonished they also recited this verse, reciprocally. [1-2-39]

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samaaksharaiH chaturbhiH yaH paadaiH giito maharshhiNaa |
saH anuvyaaharaNaat bhuuyaH shokaH shlokatvam aagataH || 1-2-40

40. yaH= that which is; sama+aksharaiH= equally, lettered; chaturbhiH= four; paadaiH= footed; maharSiNaa= by great sage; giitaH= articulated; saH+slokaH= that, verse; anuvyaharaNaat= by recitation; bhuuya= again, further; slokatvam= prominence of verse proper; aagaataH= attained.

Equally lettered, four-footed is that verse when great Sage Valmiki articulated it, and when repetitively recited by one and all, it attained prominence as verse proper. [1-2-40]

Comment: A poet never says poetry to satisfy his own instincts, but to imbue an involuntary imagination or passion in 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.

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tasya buddhiH iyam jaataa maharSeH bhaavitaatmanaH |
kR^itsnam raamaayaNam kaavyam iidR^ishaiH karavaaNyaham || 1-2-41

41. aham= kR^itsnam+raamaayaNam+kaavyam= entire, Ramayana, epic; iidR^ishaiH= this sort of [in suchlike verses]; karavaaNi= I will compose; iyam+buddhiH= this kind of, intuition; bhaavita+ aatmanaH= for that contemplated soul; tasya+maharSeH+jaataa= to that, great sage, born.

Born is an intuition in that great sage and contemplated soul asserting that "I will compose entire Ramayana, the epic, in suchlike verses...' [1-2-41]

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udaara vR^itta artha padaiH manoramaiH
tadaa asya raamasya chakaara kiirtimaan |
sama aksharaiH shloka shataiH yashasvino
yashaskaram kaavyam udaara darshanaH || 1-2-42

42. kiirtimaan+udaara+darshanaH= celebrated, magnanimous, seer; tadaa= then; yashasvinaH= of that highly renowned one, Rama; asya+raamasya= of that, Rama; yashas+karam+kaavyam= renown, furthering [extolling,] epic; udaara+vR^itta+artha+padaiH= free-flowing, prosody, semantically, yielding meanings; manoramaiH= heart-pleasing one; sama+aksharaiH+ shloka+ shataiH= with symmetrical, letters, verses, in hundreds; chakaara= authored.

That celebrated sage and magnanimous seer Valmiki then authored the highly renowned Rama's legend extolling Rama's renown, with symmetrically worded verses, and words versified to yield meanings semantically, prosody free-flowing, and with hundreds of such verses. [1-2-42]

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tad upagata samaasa sandhi yogam
sama madhuropanata artha vaakya baddham |
raghuvara charitam munipraNiitam
dasha shirasaH cha vadham nishaamaya adhvam || 1-2-43

43. upagata+samaasa+sandhi+yogam= included, compound, conjunctions, conjugations; sama+madhura +upanata+artha+vaakya+baddham= evenly, sweetly, led, expressive, sentences, well-knit; muni+ praNiitam = sage, said; tat+raghu+vara+charitam= that, Raghu's, best [one from,] legend; dasha+shirasaH+ vadham+ca= ten, headed one's, extermination, also; nishaamaya+ adhvam= behold, this way.

That epic 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. [1-2-43]

iti vaalmiki raamaayaNe aadikaavye baala kaaNDe dvitiiyaH sargaH

Thus, this is the 2nd chapter in Bala Kanda of Valmiki Ramayana, the First Epic poem of India.

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