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Rasarnavasudhakara 3

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3.1

May that supreme Person, who grants welfare, is dear to Kamalā, / is dark-blue like the throat of a mature pigeon, / is an ocean of compassion, delightful with auspicious virtues, / and dwells on the Raja mountain,

3.1.p1

—be [for our welfare]; this syntactic connection should be supplied.

3.2

Dramatic performance, which is the locus of such aesthetic sentiments, is also called dramatic representation; / it is called dramatic performance because it is the action of an extraordinarily skilled actor.

3.3

Just as the designation of metaphor occurs when a lotus or the like is superinduced on a face or the like, / in exactly the same way, the superimposition of the hero upon the actor is called dramatic representation. / And that dramatic performance is of ten kinds, consisting of the acting out of the meaning of sentences.

3.4

And likewise in the work of Bharata: / "The drama, together with the social play, the one-act play, the military play, / the monologue, the grand mythic play, the street play, the farce, the heroic combat play, / and the pursuit play are to be known as the definition of dramatic performance in ten forms."

3.4.p1

Aesthetic sentiment, plot, and heroes are the distinguishers of the respective dramatic genres.

3.5

Aesthetic sentiment and the heroes have been defined; now the plot is described.

3.5.p1

The words 'itivṛtta' [plot], 'kathā' [story], and 'vastu' [subject-matter] are synonyms.

3.6

The plot is the body of a literary composition; it is threefold:

3.6.p1

famous, invented, and mixed. The famous is the story of Rāma and the like;

3.7

the invented is created by the poet's intellect, such as Mālatīmādhava and the like;

3.7.p1

the mixed depends on both, such as the deeds of Lava and Rāghava.

3.8

In illustrative examples, this [plot] is manifold, through divisions into divine, human, and so on.

3.8.p1

And that plot is proclaimed fivefold by the wise:

3.9

the seed, the drop, the episode, the episodic incident, and the denouement.

3.10

Now, the seed: / That which, introduced in a small measure, spreads out manifoldly, / being the cause of the denouement, is called the seed by the wise. / Just as a seed sown of a tree, through divisions like the sprout and so forth,

3.11

leads to fruit, in the same way, through the differentiation of the hero and others, / this leads to the fruit; because of that, it is called the seed.

3.11.p1

For example, in the Bālarāmāyaṇa, the slight enthusiasm of Rāma conceived in the opening juncture of the first and second acts is called the seed.

3.12

Now, the drop: / When the seed towards the principal fruit is interrupted / by other secondary fruits mentioned incidentally, that which is the cause of non-interruption is called the drop.

3.13

Just as a drop of water, sprinkling the root of a tree, leads indeed to fruit, / in exactly the same way, this [element], being introduced, is called the drop.

3.13.p1

For example, in that very work [the Bālarāmāyaṇa], the acceptance of Sītā, which is the root of the hostility with Rāvaṇa, introduced in the progression juncture conceived in the third and fourth acts, is called the drop.

3.14

Now, the episode: / That which attains its own purpose through the incidental service of the principal purpose / is an episode, like the story of Sugrīva, Makaranda, and others.

3.15

Now, the episodic incident (prakarī):
That which exclusively serves another's purpose and occupies a limited scope / is designated as an episodic incident, like the episode of Navavṛndā and others.

3.15.p1

The designations of episode (patākā) and episodic incident (prakarī) are stated by the author of the Bhāvaprakāśikā, as follows:

3.16

"Just as a banner (patākā) confers beauty on something by way of being an emblem, / in the same way is described the story of one's subordinate hero and others.

3.17

Just as flowers, unbroken grains, and the like are [scattered] for the adornment of altars and the like, / so description of seasons and the like in context becomes an episodic incident (prakarī)."

3.17.p1

Thus [in the Bhāvaprakāśa].

3.18

Now, the dramatic dramatic indicators (patākāsthānaka):
That which, by way of an accidental occurrence, indicates an element / whether subordinate or principal that is in a future state, is indeed a dramatic indicator.

3.19

16
This is of two kinds: having a parallel situation and having parallel modifiers. / Of these, the first is of three varieties, while the second is only of one kind; // 17
thus the dramatic indicator is to be known as fourfold by the wise.

3.20

And so Bharata [says] (19.31):
"The sudden attainment of an objective through a clever metaphorical expression / is proclaimed as the first dramatic indicator."

3.20.p2

As in the Ratnāvalī:
Jester: "Ah! Look, here is another queen Vāsavadattā!"

3.20.p3

King: (Apprehensively lets go of Ratnāvalī's hand.)

3.20.p4

Here, because this metaphorical expression, "This is Vāsavadattā," indicates the future anger of Vāsavadattā, this is one dramatic indicator in the form of the sudden attainment of an objective.

3.21

And so [Bharata says] (19.32):
"A hyperbolic, double-entendre utterance resting upon poetic composition / is proclaimed as the second dramatic indicator."

3.22

As in the Uttararāmacarita (1.38):
"She is the goddess of fortune in the house, she is a pencil of ambrosia for the eyes, / this touch of hers on the body is thick sandalwood paste; / this arm around the neck is a cool, soft pearl necklace— / what of hers is not dearest, if only separation were not intolerable?"

3.22.p1

(Entering) Portress: "Your Majesty, he has arrived."

3.22.p2

Rāma: "Ah, who?" Here, because it indicates the future separation from Sītā, this is the second dramatic indicator, named ambiguous (śliṣṭa).

3.23

And so [Bharata says] (19.33):
"Where the introduction of a matter is concealed and polite, / provided with a double-meaning reply, that is accepted as the third."

3.23.p1

As in the Veṇīsaṃhāra (2.23), the King:

3.24

"For your thighs—the edge of whose garments is stirred by the breeze, / which captivate your gaze, and which are kinsmen to my eyes—to rest upon for long, / the pair of thighs of mine, whose garments are tossed, / is indeed sufficient, O woman with thighs like an elephant's trunk!"

3.24.p1

(Entering agitatedly) Chamberlain: "Your Majesty, broken! Your Majesty, broken!"

3.24.p2

King: "By whom?"

3.24.p3

Chamberlain: "Your Majesty, by Bhīma (or: terribly)!"

3.24.p4

King: "Ah! What are you babbling?"

3.24.p5

Here, by the chamberlain's statement which forms an ambiguous reply, there is an indication of the future breaking of Duryodhana's thighs; hence this is the third dramatic indicator, named ambiguous reply (śliṣṭottara).

3.25

And so [Bharata says] (19.34):
"An arrangement of words with double meaning, well-turned, woven into the poem, / and well-joined to the context, is stated as the fourth."

3.26

"With intense buds (longings), having lost its pale lustre, having begun to blossom (yawn) at this moment, / stretching itself in fatigue with frequent gusts of wind (sighs)— / surely, seeing this garden creeper today as if another woman filled with passion, / I shall make the Queen's face turn crimson with anger."

3.26.p1

(In the Ratnāvalī, 2.4)

3.26.p2

Here, because the future sight of Ratnāvalī is indicated by the punning modifiers, this is the fourth dramatic indicator, named parallel modifiers (tulyaviśeṣaṇa).

3.27

Now, the denouement (kārya):
The fruit of the entire plot, characterised by virtue, desire, or wealth, / is the denouement; the intelligent [playwright] should devise it as pure or mixed. // 18

3.28

Pure, as in the Mālatīmādhava (10.23), Kāmandakī:
"That good fortune which was previously chosen by the desires of the two long-lived ones / has borne fruit through merits and through my initiatives, as well as the hardship of my two disciples; / and an accomplished union of your beloved with his mistress has been brought about, / and the two royal youths are delighted; whatever other wish there is, let that too be spoken!"

3.28.p1

Here, because only the third goal of human life (desire) is stated as the fruit by this concluding verse of the drama, this is a pure denouement.

3.28.p2

Mixed, as in the Bālarāmāyaṇa (10.104):

3.29

"And the Ajagava bow was broken, yet Bharga, the leader of the gods, was not excessively enraged; / the bridge was constructed, and the ocean was seen to be tranquil and sweet; / and the descendant of Pulastya has met his end; the divine poet of the Vedas is pleased; / and this aerial vehicle was obtained, and given to Kubera who requested it."

3.29.p1

Here, because the mixed fruit of the threefold group of goals (trivarga) is stated by this concluding verse, this is mixed.

3.29.p2

Furthermore, that plot is twofold: principal and subordinate. // 19

3.30

The principal concerns the deeds of the hero and is bound to the principal fruit;

3.30.p1

that which pervades the dramatic work is the principal, like the actions of Rāma and others. // 20

3.31

The subordinate is the action of persons other than the hero, serving the hero's purpose.

3.31.p1

The episode and the episodic incident are always subordinate; the seed and the rest are [subordinate] at times. // 21

3.32

By virtue of being the seed, the seed should be at the beginning; by virtue of being the fruit, the denouement should be at the end.

3.32.p1

Because it is the cause of connecting the two, one should place the expansion (bindu) in the middle. // 22

3.33

The employment of the episode and the episodic incident should be made according to propriety.

3.34

Now, the five stages of action (avasthā):
The stages of action are fivefold, determined by the actions of the hero and others: / beginning (ārambha), effort (yatna), hope of attainment (prāptyāśā), certainty of attainment (niyatāpti), and arrival of the fruit (phalāgama). / Among these, mere exertion toward the primary fruit is held to be the beginning. // 23

3.34.p1

As in the opening juncture (mukhasandhi) of the Bālarāmāyaṇa, the mere determination of Rāma to attain extraordinary excellence is the beginning.

3.35

Now, effort (yatna):
Effort, however, is proceeding with zeal toward the attainment of that fruit.

3.35.p2

As in the progression juncture (pratimukhasandhi) in the very same work, Rāma's effort in slaying Tāṭakā, breaking the bow of the lord of spirits, and so forth.

3.36

Now, hope of attainment (prāptyāśā):
Hope of attainment, however, is the contemplation of the existence of success regarding the great objective.

3.36.p1

25b
[variant reading:] ...is considered to be the actual contemplation of success.

3.36.p2

As right there [in the Bālarāmāyaṇa], in the development juncture (garbhasandhi), there is prospect of success (prāptyāśā) because, though Rāma's attainment of supreme pre-eminence was delayed by the use of Māyāvat's sorcery, exile to the forest, the abduction of Sītā, and the like, the certainty of success is described by means of the breaking of the bow and so on, the alliance with Sugrīva, the building of the causeway, and the like.

3.37

Now, certainty of attainment (niyatāpti): / Certainty of attainment is the conviction that the undertaking will succeed without hindrance.

3.37.p2

As right there [in the Bālarāmāyaṇa], in the pause juncture (vimarśasandhi), the conviction that Rāma's result will succeed without hindrance due to the slaughter of the entire race of demons is certainty of attainment (niyatāpti).

3.38

Now, attainment of the fruit (phalāgama): / Attainment of the fruit is indeed the obtainment of the complete desired fruit.

3.38.p2

As right there [in the Bālarāmāyaṇa], in the conclusion juncture (nirvahaṇasandhi), Rāma's obtainment of the extraordinary fruit of the three aims of life through carrying out his father's command, appeasing hostility, and enjoying his kingdom is attainment of the fruit (phalāgama).

3.39

Now, juncture (sandhi): / The conjunction of each single stage [of action] with each single element of the plot / should be known as a juncture by experts in theatrical science.

3.40

|| 27 / The presence of an episode (patākā), however, occurs in some places and not in others. / In the absence of an episode, the wise [dramatist] should employ the germ (bīja) or the drop (bindu).

3.41

|| 28 / When the limbs of the story are unified in accordance with the principal purpose, / the connecting of subsidiary matters is a juncture, because of its nature of joining together.

3.41.p1

(In this respect, there are five junctures:) / The opening (mukha), the progression (pratimukha), the development (garbha), the pause (vimarśa), and the conclusion (upasaṃhṛti): / these are the five junctures.

3.42

(The opening juncture and its subdivisions are as follows:) / Among them, where the emergence of the germ takes place,

3.43

|| 30 / which is the cause of diverse matters and of the aesthetic sentiments as well, / that is the opening (mukha); and in it are subdivisions corresponding to the germ and the beginning.

3.44

|| 31 / Suggestion (upakṣepa), amplification (parikara), setting forth (parinyāsa), enticement (vilobhana), / determination (yukti), attainment (prāpti), settlement (samādhāna), arrangement (vidhāna), contemplation (paribhāvanā), / disclosure (udbheda), cleavage (bheda), and effectuation (karaṇa): one should thus employ twelve [subdivisions].

3.45

Among these, suggestion (upakṣepa): / Suggestion is declared by the wise to be the intimation of the germ.

3.45.p2

As in the Bālarāmāyaṇa, in the first act entitled ‘Pratijñāta-Paulastya’:

3.45.p3

Beginning with: ‘(Then enters Śunaḥśepa, a disciple of Viśvāmitra) Śunaḥśepa: I wish to see the sacrificer at the very morning libation...’ and ending with: ‘...having gone from the Siddhāśrama to Ayodhyā to bring Rāma, who is an antidote against the demons, father Viśvāmitra has sent me as his representative to Sīradhvaja, the Vedic-learned Kṣatriya and his supreme friend, who had been invited to the sacrifice’ [before verse 1.23], there is suggestion (upakṣepa) because of the intimation of the germ, which consists of Viśvāmitra's undertaking that enhances Rāma's energy, characterized by the chastisement of wicked demons such as Rāvaṇa.

3.46

Now, amplification (parikara): / Amplification is considered to be the proliferation of the germ.

3.46.p2

As right there [in the Bālarāmāyaṇa]: ‘(Entering in the disguise of an ascetic) Rākṣasa:

3.47

I have been sent today by Mālyavat / to learn of the activities of the son of Kuśika, / and to go to Mithilā, the city of the Nimis, / and also to Ayodhyā, the capital of the Raghus.

3.47.p2

Beginning with: ‘Noble youth, I have been embraced with favor...’ and ending with: ‘For that Viśvāmitra is a natural enemy of the night-stalkers through the practice of his vow, and Daśaratha, capable through the practice of the warrior's vow, is of like nature’ [after verse 1.25], there is amplification (parikara) because Viśvāmitra's undertaking is proliferated by becoming the object of speculation by Mālyavat and others.

3.48

Now, setting forth (parinyāsa): / Setting forth is said to be the statement of the germ's establishment.

3.48.p2

As right there [in the Bālarāmāyaṇa]: ‘Rākṣasa (looking forward): How, an ascetic? (Recognizing him) And that too Śunaḥśepa, the adopted son of Viśvāmitra...’ beginning with this, and continuing with: ‘Just now, out of fear of the demons, that venerable one, about to be consecrated for the sacrifice, has gone to Ayodhyā to choose the auspicious Rāma as protector. Rākṣasa (with terror, to himself): Alas, how has even this come to pass? (Aloud) Revered sir, do not be angry...’ up to: ‘(To himself) What was to be done has been done. Now this is the time for spies to circulate’ [after verse 1.27], there is setting forth (parinyāsa) of the establishment of the germ through the statement of Viśvāmitra's majesty and the statement of the demon's terror.

3.49

Now, enticement (vilobhana): / That which is the description of the virtues of the hero and others is enticement.

3.49.p2

As right there [in the Bālarāmāyaṇa], Rāvaṇa:

3.50

‘Even by the act of stringing which, many have been made to abandon their heroic vow...’

3.50.p1

Beginning with this, Rāvaṇa (with expectation):

3.51

‘The blue lotus is mere cast-off garland beside the splendor of her eyes; the moon is a servant to her face; / radiance is the veil of her body; and her words, indeed, drop honey. / Rāvaṇa begs you with hands folded twentyfold: / O heart, make friends with my eyes to look upon that daughter of Janaka!’

3.51.p2

Ending with this, there is enticement (vilobhana) because of the description of her virtues.

3.52

Now, determination (yukti): / Determination is considered indeed to be the proper ascertainment of purposes.

3.52.p2

As right there [in the Bālarāmāyaṇa], in the second act entitled ‘Paraśurāma and Rāvaṇa’:

3.52.p3

Beginning with: ‘(Then enters) Bhṛṅgiriṭin (walking about, examining himself): Ah, even misshapenness sometimes leads to great prosperity...’ [down to:] ‘Bhṛṅgiriṭin: Yes, Nārada, as you argue. For instance:

3.53

One brought Mount Kailāsa into his hand; the other cleaved Krauñca. / One seized Laṅkā from Kubera; the other, the Koṅkaṇa [lands] from the ocean for a dwelling. / One was the conqueror of Śakra in battle; the other, of the divine Kārtikeya. / Therefore, truly, since their exploits are equal, is there any wonder that the Fortune of Heroism stands between the two?’

3.53.p2

Ending with this, there is determination (yukti) because of the statement determining the equality of deeds between Bhārgava and Rāvaṇa, the two rivals of Rāghava.

3.54

Now, attainment (prāpti): / Attainment is designated by the wise as the obtaining of happiness.

3.54.p2

As right there [in the Bālarāmāyaṇa], Nārada (joyfully raising his hand):

3.55

'A marvel, an elixir to the eyes, the supreme auspiciousness of divine attainment, / an open doorway to liberation, a medicine delighting my mind: / along with celestial wives eager to gain new husbands, O gods, / behold all the battle of Rāma and Rāvaṇa; this Nārada proclaims it to you.'

3.55.p2

Here, because of Nārada's attainment of the joy of beholding the battle, there is attainment (prāpti).

3.56

Now, settlement (samādhāna): / The replanting of the germ is called settlement here.

3.56.p2

As in that very work [Bālarāmāyaṇa]: Bhṛṅgiriṭi: 'O you fond of fighting, do not be so exceedingly vehement.' Beginning with this, up to the end: 'Going to Ayodhyā, I will arrange an extraordinary conflict between Rāma and Rāvaṇa' [after verse 2.16]—because of Nārada's replanting of the germ of Rāghava's heroic energy, there is settlement.

3.57

Now, arrangement (vidhāna): / But that which produces pleasure and pain the wise know as arrangement.

3.57.p2

As in that very work [Bālarāmāyaṇa], in the first act: Sītā (with apprehension and curiosity): 'Ah, hearing that it is a Rākṣasa, in truth I am caught between dread and curiosity.' Beginning with this, up to: Sītā: 'I will sit near Father Śatānanda Miśra' [before verse 1.42]—because of the description of the mixture of pleasure and pain through Sītā's sight of a Rākṣasa unseen before, there is arrangement.

3.58

Now, cogitation (paribhāvanā): / Cogitation is the mind's wonder provoked by praiseworthy virtues and the like.

3.58.p2

As in that very work [Bālarāmāyaṇa], Rāvaṇa (looking with longing, to himself): 'Ah, how her loveliness surpasses the three worlds and revives Makaradhvaja! For:

3.59

The moon is as if smeared with collyrium, the gaze of does is as if dulled; / the coral creeper is as if faded in redness, the glow of gold is as if darkened; / and some slight harshness is as if introduced into the throats of female cuckoos; / and alas, before Sītā, the plumes of peacocks are as if objects of reproach.'

3.59.p2

Beginning with this, up to: Śatānanda (aside): 'Ah, the unprecedented weight of the Lord of Laṅkā's pride! So that even my mind, Śatānanda's, cannot determine: what will happen?' [after verse 1.46]—because of the description of the mind's wonder in both Rāvaṇa, from seeing Sītā's loveliness, and Śatānanda, from seeing Rāvaṇa's heroic energy, there is cogitation.

3.60

Now, sprouting (udbheda): / The disclosure of the germ is proclaimed as sprouting.

3.60.p2

As in that very work [Bālarāmāyaṇa], in the second act: Rāvaṇa recites: 'This axe belonging to the three-eyed god is fierce by nature' (2.36), and so forth; Jāmadagnya: 'Though doing me an injury, you have done me a great favor, since I have been reminded of this'—beginning with this [before verse 2.44]:

3.61

'An extraordinary character confers prestige / upon men; high birth is indeed no cause for greatness: / the birth of the sage who tormented Vātāpi was from a water-pot, / yet his drinking of the ocean was mere play.'

3.61.p2

Up to this [passage], either from the disclosure of the hidden slight against Śaṅkara's bow, or from the disclosure of Rāmacandra's veiled heroic energy by the general description of extraordinary character, there is sprouting.

3.62

Now, instigation (bheda): / Instigation is the inciting of the germ, or else the breaking of an alliance.

3.62.p2

As in that very work [Bālarāmāyaṇa]: Rāvaṇa (looking): 'Now, what was said by Paraśurāma when his axe was requested?'

3.62.p3

Māyāmaya: 'Ruby of the three worlds, let my master listen to the account of Rāma:

3.63

"Hearing that Paulastya asks out of love, my mind rejoices; / but this axe, granted by the favour of Hara, cannot be given, wherefore he languishes all the more. / Therefore tell the ten-headed one in my words: 'The earth has been bestowed upon the twice-born; / tell me, what shall I conquer and give you in the underworld or in heaven?'"

3.63.p2

Rāvaṇa: 'When indeed did Paraśurāma become the conqueror and donor of Rasātala and heaven? And Rāvaṇa, moreover, the recipient! Then what was he answered by you?' Beginning with this:

3.63.p3

Māyāmaya: 'Lord, Reṇukā's son is wrathful by nature; therefore I imagine he has arrived here himself.'

3.63.p4

Rāvaṇa: 'To our delight!' Up to this [before verse 2.24]—because of the inciting of Bhārgava and Rāvaṇa, who embody the rival hero, there is instigation.

3.64

Now, initiation of action (karaṇa): / The undertaking of the matter at hand is called initiation of action.

3.64.p2

As in that very work [Bālarāmāyaṇa] [after verse 2.25]: 'Both mimic the stringing of the bow'—beginning with this, up to the conclusion of the act, because of the statement of the undertaking of the present battle between Jāmadagnya and Rāvaṇa, there is initiation of action.

3.65

Now, the progression juncture (pratimukha-sandhi): / Where the germ is manifested / in a visible and invisible manner [39] / in accordance with the drop and the effort, / that is the progression juncture.

3.65.p1

Here thirteen subdivisions are to be employed by the wise: [40]

3.66

amorous sport (vilāsa) and pursuit (parisarpana), / refusal (vidhuta), pacification (śama), and jest (narma);

3.66.p1

brilliance of jest (narma-dyuti), advance (pragamana), / obstruction (nirodha), courtly service (paryupāsana); [41]

3.67

flowering (puṣpa), thunderbolt (vajra), / proposal (upanyāsa), and also gathering of classes (varṇa-saṅgrahaṇam).

3.68

Among these, amorous sport (vilāsa): / Amorous sport is proclaimed as an activity directed toward union.

3.68.p1

As in that very work [Bālarāmāyaṇa], in the third act titled 'The Embarrassed Lord of Laṅkā' [before verse 3.21]: Rāma: 'Ah, this is that Sītā whose mother is the Earth herself, whose birth-chamber is the sacrificial ground, and the stringing of the crescent-adorned god's bow is the prize!' (Looking with longing)—beginning from this, the chamberlain:

3.69

'By this one, a loud laugh was uttered; his throat held sweet notes; / by that one, an eager glance was cast; this one stood with languid limbs; / and he, out of joy, lightly touches the tip of his necklace with his hand: / the new association with women is indeed a cause of intoxication for men.'

3.69.p2

Up to this—because of the description of the longing of Rāma and others having Sītā as its object, there is amorous sport.

3.70

Now, pursuit (parisarpa): / The constant recollection of the previously seen germ / that has been lost through an act division or the like / is known as pursuit.

3.70.p1

As in the very same work [Bālarāmāyaṇa], the doorkeeper (to himself): "How is it that even in this act of stringing the bow, which is appropriate for the kṣatriya class, all the kṣatriyas are rendered futile in their prowess? So here sits the prince of the solar dynasty, his power as yet unmeasured. Or rather, what is the use even of him?—

3.71

When iron needles shatter / in breaking this diamond gem, / what, indeed, could the imitation / of a woman's fingernail achieve there?"

3.71.p2

(Reflecting) "Be that as it may. Still, I shall proclaim him, for the origin of an eminent warrior has an unmeasured power," beginning thus—

3.71.p3

down to: "Hemaprabhā: 'And the taking of the hand of my dear friend has taken place'" [after verse 3.79], this is [the dramatic element called] pursuit (parisarpa), because the energy of Rāmabhadra—which was previously observed in the slaying of Tāṭakā and others, and subsequently disappeared due to the description of the bow of Dhūrjaṭi being impossible for all kṣatriyas to string—is recollected through the act of breaking that bow.

3.72

Now, disappointment (vidhuta):
When there is discontent due to the non-attainment of objects desired by the hero and others,
that indeed is considered vidhuta by the wise. (44)
Or, vidhuta may be the rejection of an abundance of conciliation.

3.72.p1

45a
As in the very same work [Bālarāmāyaṇa], in the fourth act entitled Bhārgavabhaṅga, Śatānanda:

3.73

"You, whose mother is the earth herself, and this lord of yogins is your father..."

3.73.p2

beginning with this, and ending with: Rāma (reflecting, to himself): "Even while weeping, Jānakī is lovely" [after verse 4.47], this is vidhuta because of the statement of Sītā's discontent caused by separation from her relatives. Or according to another opinion, in that very passage, Rāma (approaching): "O holy Bhārgava, be mercifully gracious," beginning thus, up to where Jāmadagnya says: "The son of Reṇukā is not one to be appeased by reverent salutations" [before verse 4.58], this is vidhuta because Rāma's conciliation is not accepted by Bhārgava.

3.74

Now, pacification (śama):
The pacification of discontent—those who know it, the wise, call pacification.

3.74.p2

As in the very same work [Bālarāmāyaṇa] (before verse 4.57), Hemaprabhā: "It is fitting that wonder should bloom; but on seeing Paraśurāma, there is fear again, before Rāmacandra of fierce deeds who broke the bow-staff"; here, because of the statement of Rāmacandra's valor, pacification occurs through the calming of Sītā's discontent.

3.75

Now, jest (narma):
Speech that has teasing laughter as its chief element, they know as narma.

3.75.p1

As in the very same work [Bālarāmāyaṇa], in the third act, Rāma (choking with emotion):

3.76

"By word alone, the bow was given by the lord of the Kauśikas to be strung; / by the violent bending of my massive arm, it was broken, incurring disgrace. / I do not know what answer the revered Janaka, his head bowed down / under the sway of shame, will give here to the revered Rudra, who deposited it!"

3.76.p2

Here, with the concealment concerning king Janaka, there is jest consisting primarily of laughter.

3.77

Now, flash of jest (narmadyuti):
Laughter meant for concealing anger is considered the flash of jest.

3.77.p1

As in the very same work [Bālarāmāyaṇa], in the fourth act, Viśvāmitra toward Jāmadagnya:

3.78

"Rāma is my pupil, O son of Bhṛgu; you are my niece's son; / between the left arm and the other, what difference is there in practical effect? / But the acquisition of divine weapons by you from Paśupati came from me; / therefore I entreat you: cease from strife, and begin noble conduct."

3.78.p2

Jāmadagnya (laughing): "O maternal uncle of my mother! There is no difference between you and the beloved of Bhavānī," beginning thus—

3.78.p3

and ending with: Rāma (laughing): "O Jāmadagnya! This is indeed a unique privilege of taking up arms, that there is disrespect even toward elders!" (in that very place, slightly further on); this is flash of jest, since laughter is described in order to conceal anger toward respected persons on the part of Bhārgava and Rāghava.

3.79

Now, progression (pragamana):
That indeed is pragamana which consists of an exchange of speeches one after the other.

3.79.p2

As in the very same work [Bālarāmāyaṇa], Rāma:

3.80

"Why, again, these angry words that scrape everything away? / He has renounced everything, is advanced in age, and is the seventh from the lotus-born!"

3.80.p2

At the end of this verse, Jāmadagnya: "What then?"

3.81

Rāma (with dejection):
"That secret of archery, for which the moon-crested god acted as preceptor, / where Guha was his fellow student for a long time, and which made the earth sing the vow of heroes, / that bow-secret of yours, O revered one, this Rāma shall see today; / but we, the kṣatriya race, are not incompetent with a bow whose jṛmbhaka missile opens with ease!"

3.81.p2

down to where Jāmadagnya says: "Well done, O kṣatriya boy, well done!" Because this recounts statement and counter-statement between Bhārgava and Rāghava, it is progression.

3.82

Now, obstruction (nirodha):
Where distress arrives, that is called obstruction.

3.82.p2

As in the very same work [Bālarāmāyaṇa], Jāmadagnya:

3.83

"Crushing them like ripe camphor, he has crushed three things: / my shame, the bow of Caṇḍī's lord, and his own life!"

3.83.p2

Janaka: "How is it that even for one who has renounced weapons, the moment for taking up weapons arrives once more?" beginning thus—

3.84

"Discharge the arrows here then; old age torments me!"

3.84.p2

and ending with: Daśaratha: "O kinsman, enough with this addiction to taking up the bow!" Since it describes the distress of Janaka caused by Bhārgava or caused by old age, it is obstruction.

3.85

Now, propitiation (paryupāsana):
The conciliation of someone who is angry is said to be paryupāsana.

3.85.p2

As in the very same work [Bālarāmāyaṇa], Viśvāmitra (toward Jāmadagnya):

3.86

"Rāma is my pupil, O son of Bhṛgu; you are my niece's son..."

3.86.p2

In this verse, Viśvāmitra's conciliation of Bhārgava, who was blinded by rage, constitutes paryupāsana (conciliatory service).

3.87

Now, puṣpa (the flower)—
A statement possessing extraordinary distinction
is designated as puṣpa.

3.87.p2

As right there [in the Bālarāmāyaṇa], in the third act, (entering) Kohala—

3.88

"Who, though burnt like camphor, is potent in each and every person"

3.88.p1

— beginning with this [verse], and ending with:

3.89

"The lotus of lovely women has opened, the owl-like Kauśika is pleased, and Lakṣmaṇa is forthwith delighted;
for the bending of the heavenly bow, this autumn season has arrived."

3.89.p1

— [Bālarāmāyaṇa 3.16]

3.89.p2

because at the end there is the statement of a particular meaning indicated by the name Rāmacandra, this is blossom (puṣpa).

3.90

Now, the thunderbolt (vajra):
Thunderbolt is to be understood as speech that is plainly harsh.

3.90.p2

As in the very same work, in the fourth act, Paraśurāma says: "Rāghava, who hast displayed agility, listen then to what I shall do to thee:

3.91

The severed, thick circle of conduits of veins
pours forth a stream of blood, smearing the furious, headless trunk;
the axe, revered by the immortals, now cleaves the head
of the breaker of the bow of Mṛḍānī’s husband, which snapped with a crack!"

3.91.p1

— [Bālarāmāyaṇa 4.61]

3.91.p2

— beginning with this and ending with "He who wishes to experience the hospitality of the Lord of the Dead...", because of the speech harsh as a thunderbolt, this is thunderbolt (vajra).

3.92

Now, the statement of reason (upanyāsa):
A statement that is accompanied by logical reasons is accepted as an upanyāsa.

3.92.p2

As in the very same work, Mātali says: "This indeed is Paraśurāma's extreme devotion to his father, namely, the severing of Reṇukā's head" [after verse 4.29], beginning with this, and ending with:

3.93

"Or rather, those elders of yours possess unfathomable conduct; let this folded-hands homage be to them!"

3.93.p1

— [Bālarāmāyaṇa 4.33]

3.93.p2

— because, by logical justifications, it demonstrates that even slaying one's mother was done merely out of carrying out the father's command, or because everything is justified through the statement of the unfathomable conduct of elders, this is statement of reason (upanyāsa).

3.94

Now, the assembly of castes (varṇasaṃhāra):
The coming together of all social classes is called assembly of castes.

3.94.p1

// 50a
As in the very same work, Paraśurāma says (giving ear, to the air): "What do you say? 'Who did not describe the descendant of Daśaratha's stringing of Śaṅkara's bow? Who was not astonished by its breaking?' (Indignantly) (He recites 'Who did not describe...', etc.) Listen, sirs!

3.95

He who is the doer in breaking the staff of Hara's bow, and indeed he who approved it,
he who was the onlooker, he who was the examiner, he who was the praiser and the speaker here —"

3.95.p1

— [Bālarāmāyaṇa 4.56]

3.96

— beginning with this, and ending with:
"Rāma himself, the schoolfellow of Guha, will search out that which is full of Rāma."

3.96.p1

— [Bālarāmāyaṇa 4.57]

3.96.p2

— because social classes such as Brāhmaṇas and Kṣatriyas are gathered together through mention of Rāghava, Viśvāmitra, heroic individuals, and others, under the forbidden categories of being the agent, the approver, and the praiser of the breaking of Hara's bow, this is assembly of castes (varṇasaṃhāra).

3.97

Now, the development juncture (garbhasandhi):
The development (garbha) is the repeated search for the seed that has been seen and lost from sight; / 50b
here too, according to the episodaic plot (patākā), one should fashion its subdivisions.

3.97.p1

Fabrication of the unreal (abhūtāharaṇa), the path (mārga), the form (rūpa), the illustration (udāharaṇa), the sequence (krama), // 51

3.98

gathering together (saṅgraha), inference (anumāna), quarrel (toṭaka), superiority of power (adhibala),
agitation (udvega), confusion (sambhrama), and objection (ākṣepa) — their definition is twelvefold.

3.99

Among them, the fabrication of the unreal (abhūtāharaṇa):
Fabrication of the unreal is that statement which is grounded in deceit.

3.99.p2

As in the very same work, in the fifth act titled "Unmatta-Daśānana", Mālyavān says (laughing): "An old man's intellect indeed foresees the final outcome at the very beginning. For it was seen by me with the eye of intellect from the time of the insult to Dhūrjaṭi's bow that the Ten-necked one would set his mind on the abduction of Sītā."

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