Chapter 4
Lava and Kusha assigned to sing the epic; Rama listens to it
31 Verses
प्राप्तराज्यस्य रामस्य वाल्मीकिर्भगवानृषिः | चकार चरितं कृत्स्नं विचित्रपदमर्थवत् || १-४-१
praapta raajyasya raamasya vaalmiikir bhagavaan R^ishhiH | chakaara charitam kR^it.hsnam vichitra padam arthavat || 1-4-1
The godly saint Valmiki composed Ramayana on Rama's retrieving kingdom, wording admirably and meaningfully. [1-4-1]
चतुर्विंशत्सहस्त्राणि श्लोकानामुक्तवानृषिः | तथा सर्गशतान् पञ्च षट् काण्डानि तथोत्तरम् ||१-४-२
chatur.hviMshat sahasraaNi shlokaanaam uktavaan R^iShiH | tathaa sarga shataan paMcha shhaT kaaNDaani tathaa uttaram ||1-4-2
Sage Valmiki said Ramayana in twenty four thousand verses, in five hundred chapters, in six books, likewise an end-piece too. [1-4-2]
कृत्वापि तन्महाप्राज्ञः सभविष्यं सहोत्तरम् | चिन्तयामास कोन्वेतत्प्रयुञ्जीयादिति प्रभुः ||१-४-३
kR^itvaa tu tan mahaapraaGYaH sa bhaviShyam saha uttaram | chintayaamaasa konvetat prayuMjiiyaad iti prabhuH ||1-4-3
Though that great scholar composed thus with leading and sequel legends, that godly saint thought over thus 'really, who will render all this ballad...' [1-4-3]
तस्य चिन्तयमानस्य महर्षेर्भावितात्मनः | अगृह्णीतां ततः पादौ मुनिवेषौ कुशीलवौ || १-४-४
tasya chintayaamaanasya maharshher bhaavitaatmanaH | agR^ihNiitaam tataH paadau muni veShau kushii lavau || 1-4-4
Then Lava and Kusha who are in the attire of hermits have touched the feet of that contemplative soul Valmiki, who is now thoughtful. [1-4-4]
कुशीलवौ तु धर्मज्ञौ राजपुत्रौ यशस्विनौ | भ्रातरौ स्वरसम्पन्नौ ददर्शाश्रमवासिनौ || १-४-५
kushii lavau tu dharmaGYau raaja putrau yashashvinau | bhraatarau svara saMpannau dadarsha aashrama vaasinau || 1-4-5
Glorious Kusha and Lava are the virtue knowing princes, and they are endowed with melodious voice, besides being the residents of the same hermitage, thus Valmiki saw them saluting at his feet. [1-4-5]
स तु मेधाविनौ दृष्ट्वा वेदेषु परिनिष्ठितौ | वेदोपबृंहणार्थाय तावग्राहयत प्रभुः || १-४-६
sa tu medhaavinau dR^ishhTvaa vedeshhu parinishhTitau | vedopabR^iMhaNaarthaaya tau agraahayata prabhuH || 1-4-6
On seeing that pair intellectuals who are proficient in Veda-s that self-reliant sage Valmiki made those two to memorize the epic, as the epic Ramayana is composed only to reinforce the import of Veda-s, as an ancillary. [1-4-6]
काव्यं रामायणं कृत्स्न्नं सीतायाश्चरितं महत् | पौलस्त्यवधमित्येवं चकार चरितव्रतः || १-४-७
kaavyam raamaayaNam kR^itsnam siitaayaaH charitam mahat | paulastya vadham iti evam chakaara charita vrataH || 1-4-7
That sage with observed sacred vows has rendered the entire epic in the name of 'Ramayana', 'Sublime Legend of Seetha' and 'elimination of Ravana'. [1-4-7]
पाठ्ये गेये च मधुरं प्रमाणैस्त्रिभिरन्वितम् | जातिभिः सप्तभिर्बद्धं तन्त्रीलयसमन्वितम् ||१-४-८
paaThye geye cha mathuram pramaaNaiH tribhir anvitam | jaatibhiH saptabhiH yuktam tan.htrii laya samanvitam ||1-4-8
To read or to sing it is melodious, adaptable to music with three scales and sevenfold tune, and orchestral to the tunes of string-instrument and rhythm included... [1-4-8]
रसैः शृंगारकरुणहास्यरौद्रभयानकैः | वीरादिभी रसैर्युक्तं काव्यमेतदगायताम् ||१-४-९
rasaiH shR^iMgaara karuNa haasya raudra bhayaanakaiH | viraadibhii rasair yuktam kaavyam etat agaayataam ||1-4-9
Aesthetics like romance, pathos, comic, fury, fright, valour etc., embodying the epic is sung [by Kusha, Lava.] [1-4-9]
तौ तु गान्धर्वतत्त्वज्ञौ स्थानमूर्च्छनकोविदौ | भ्रातरौ स्वरसम्पन्नौ गन्धर्वाविव रुपिणौ || १-४-१०
tau tu gaandharva tattvaGYau sthaana muurcChana kovidau | bhraatarau svara saMpannau gandharvaaH iva ruupiNau || 1-4-10
They are conversant with the art of music and proficient with the pitch and pausing their voices, and those two brothers have not only a wealthy voice, but they also look like celestial singers. [1-4-10]
रूपलक्षणसम्पन्नौ मधुरस्वरभाषिणौ | बिम्बादिवोत्थितौ बिम्बौ रामदेहात्तथापरौ || १-४-११
ruupa lakshaNa saMpannau madhura svara bhaashhiNau | biMbaat iva uthiitau biMbau raama dehaat tathaa aparau || 1-4-11
They have charm in their appearance and melodiousness in their voice, they are like the two reflections of one original object, and thus they came out from the body of Rama, separately. [1-4-11]
तौ राजपुत्रौ कार्त्स्न्येन धर्म्यमाख्यानमुत्तमम् | वाचो विधेयं तत्सर्वं कृत्वा काव्यमनिन्दितौ || १-४-१२
tau raaja putrau kaartsnyena dharMyam aakhyaanam uttamam | vaacho vidheyam tat sarvam kR^itvaa kaavyam aninditau || 1-4-12
They the princes have memorized that virtue-expounding epic, the best; in its entirety and in doing so, they rendered that epic faultlessly. [1-4-12]
ऋषीणां च द्विजातीनां साधूनां च समागमे | यथोपदेशं तत्त्वज्ञौ जगतुः सुसमाहितौ || १-४-१३
R^ishhiiNaam cha dvijaatiinaam saadhuunaam cha samaagame | yathA upadesham tattvaGYau jagatuH tau samaahitau || 1-4-13
They sung the epic as schooled, well aware of its content and intent, among the assemblages of sages, scholars and also of eminent persons, with their best concentration [1-4-13]
महात्मानौ महाभागौ सर्वलक्षणलक्षितौ | तौ कदाचित्समेतानामृषीणां भावितात्मनाम् | मध्येसभं समीपस्थाविदं काव्यमगायताम् || १-४-१४
mahaatmanau mahaabhaagau sarva lakshNa lakshitau | tau kadaachit sametaanaam R^ishhiiNaam bhavita aatmanaam || 1-4-14 madhye sabham samiipasthau idam kaavyam agaayataam |
Once those two great-souls who endowed with musical talent and with all remarkable features, sung this epic, standing nearby the midst of a gathering of sages and pious souls. [1-4-14]
तच्छ्रुत्वा मुनयः सर्वे बाष्पपर्याकुलेक्षणाः | साधु साध्विति तावूचुः परं विस्मयमागताः || १-४-१५
tat shrutvaa munayaH sarve baashhpa paryaakulekshaNaaH || 1-4-15 saadhu saadhviti taa uuchuH param vismayam aagataaH |
On hearing that, the eyes of all the sages were overspread with tears of happiness, and they appreciated saying, 'splendid, splendid is this...' [1-4-15]
ते प्रीतमनसः सर्वे मुनयो धर्मवत्सलाः | प्रशशंसुः प्रशस्तव्यौ गायमानौ कुशीलवौ || १-४-१६
te priita manasaH sarve munayo dharma vatsalaaH || 1-4-16 prashashaMsuH prashastavyau gaayamaanau kushii lavau |
All those saints being the saint-patrons of virtue are pleased at heart, and praised the praiseworthy Kusha and Lava, while they are singing. [1-4-16]
अहो गीतस्य माधुर्यं श्लोकानां च विशोषतः | चिरनिर्वृत्तमप्येतत् प्रत्यक्षमिव दर्शितम् || १-४-१७
aho giitasya maadhuryam shlokaanaam cha visheshhataH || 1-4-17 chiranirvR^ittam api etat pratyaksham iva darshitam |
"The melody of the ballad, especially the meaning of verses, aha! Superb... though this has happened long-ago it is shown like the one happening presently... [1-4-17]
प्रविश्य तावुभौ सुष्ठु तथा भावमगायताम् | सहितौ मधुरं रक्तं सम्पन्नं स्वरसम्पदा || १-४-१८
pravishya taa ubhau suShThu tathaa bhaavam agaayataam || 1-4-18 sahitau madhuram raktam saMpannam svara saMpadaa |
"On getting into the mood of the epic, those two sang its import in one tune, that too melodiously and rapturously, marinating the pitch and tune..." So said the saints. [1-4-18]
एवं प्रशस्यमानौ तौ तपःश्लाघ्यैर्महर्षिभिः | संरक्ततरमत्यर्थं मधुरं तावगायताम् || १-४-१९
evam prashasyamaanau tau tapaH shlaaghyaiH maharShibhiH || 1-4-19 saMraktataram atyartham madhuram tau agaayataam |
While the great saints of blessed ascesis are appreciating that way, those two melodiously sang very effectually and very meaningfully. [1-4-19]
प्रीतः कश्चिन्मुनिस्ताभ्यां संस्थितः कलशं ददौ | प्रसन्नो वल्कलं कश्चिद्ददौ ताभ्यां महायशाः || १-४-२०
priitaH kashchin muniH taabhyaam saMsthitaH kalasham dadau || 1-4-20 prasanno valkalam kashchid dadau taabhyaam mahaayashaaH |
And someone, a pleased saint, got up and bestowed a handy vessel to them... another reputed sage, lauding them contributed a jute robe. [1-4-20]
अन्यः कृष्णाजिनमदाद्यज्ञसूत्रं तथापरः | कश्चित्कमण्डलुं प्रादान्मौञ्जीमन्यो महामुनिः || १-४-२१ बृसीमन्यस्तदा प्रादात्कौपीनमपरो मुनिः | ताभ्यां ददौ तदा हृष्टः कुठारमपरो मुनिः || १-४-२२ काषायमपरो वस्त्रं चिरमन्यो ददौ मुनिः | जटाबन्धनमन्यस्तु काष्ठरज्जुं मुदान्वितः || १-४-२३ यज्ञभाण्डमृषिः कश्चित् काष्ठभारं तथापरः | औदुम्बरीं बृसीमन्यः स्वस्ति केचित्तदावदन् || १-४-२४ आयुष्यमपरे प्राहुर्मुदा तत्र महर्षयः | ददुश्चैवं वरान्सर्वे मुनयः सत्यवादिनः || १-४-२५
anyaH kR^iShNaajinam adad yaGYa suutram tathaa aparaH || 1-4-21 kashchit kamaNDalum pradaan mau~njiim anyo mahaamuniH | brusiimanyaH tadaa praadat kaupiinam aparo muniH || 1-4-22 taabhyaam dadau tadaa hR^iShTaH kuThaaram aparo muniH | kaaShaayam aparo vastram chiiram anyo dadau muniH || 1-4-23 jaTaabandhanam anyaH tu kaaShTha rajjum mudaanvitaH | yaGYa bhaaNDam R^iShiH kashcit kaaShThabhaaram tathaa paraH || 1-4-24 audumbariim brusiim anyaH svasti kechit tadaa avadan | aayuShyam apare praahur mudaa tatra maharShayaH || 1-4-25 daduH cha evam varaan sarve munayaH satyavaadinaH |
And another sage bestowed a black-deerskin, and like that yet another a sacred thread... someone gave a water-pot and another great saint a girdle of maunja grass to singers, while that way another contributed an under cloth; another sage gladly contributed a hatchet to them, another a saffron clothe, and yet another saint bestowed a cloth-wrapper; another delivered tuft-headband also, and another enchanted for their singing ballad handed out a sacrificial vessel, and another a bundle of firewood sticks, and yet another gave a plank-seat of audambari wood, and other called forth blessings, and someone then happily chanted bless-hymns for longevity... there by all the truth-avowing saints, those that are great sages have thus bestowed boons. [1-4-21-26]
आश्चर्यमिदमाख्यानं मुनिना सम्प्रकीर्तितम् | परं कवीनामाधारं समाप्तं च यथाक्रमम् || १-४-२६
dR^ishhTvaa tu ruupa saMpannau viniitau bhraatarau ubhau || 1-4-31 uvaacha lakshmaNam raamaH shatrughnam bharatam tathaa |
"Surprising is this well-said rendering of Valmiki... it is the subsistence for tomorrow's poets... and this is completed sequentially, as well... [1-4-26]
अभिगीतमिदं गीतं सर्वगीतेषु कोविदौ | आयुष्यं पुष्टिजनकं सर्वश्रुतिमनोहरम् || १-४-२७ प्रशस्यमानौ सर्वत्र कदाचित्तत्र गायकौ | रथ्यासु राजमार्गेषु ददर्श भरताग्रजः || १-४-२८
shruuyataam etad aakhyaanam anayoH deva varchasoH || 1-4-32 vichitraartha padam saMyak gaayakau samachodayat |
While this song that generates longevity and prosperity, and one that is melodious one to all ears is being sung everywhere in streets and king's ways and while those two singers who are experts in singing any kind of music are being appreciated everywhere, Rama has seen them. [1-4-27-28]
स्ववेश्म चानिय ततो भ्रातरौ स कुशीलवौ | पूजयामास पूजार्हौ रामः शत्रुनिबर्हणः || १-४-२९
hlaadayat sarva gaatraaNi manaaMsi hR^idayaani cha | shrotraashraya sukham geyam tad babhau janasaMsadi || 1-4-34
Then on seeing them Rama, the enemy-eliminator, fetched those honour-worthy bothers, Lava and Kusha, to his palace and honoured them. [1-4-29]
आसीनः काञ्चने दिव्ये स च सिंहासने प्रभुः | उपोपविष्टैः सचिवैर्भ्रातृभिश्च समन्वितः || १-४-३०
imau munii paarthiva lakshaNaanvitau kushii lavau cha eva mahaatapasvinau | mamaa api tad bhuuti karam prachakshate mahaanubhaavam charitam nibodhata || 1-4-35
He that king Rama is then surrounded by his ministers and brothers that are sitting his nearby, he himself sat on a divine golden throne. [1-4-30]
दृष्ट्वा तु रूपसम्पन्नौ विनीतौ भ्रातरावुभौ | उवाच लक्ष्मणं रामः शत्रुघ्नं भरतं तथा || १-४-३१
tataH tu tau raama vachaH prachoditau agaayataam maarga vidhaana saMpadaa | sa cha api raamaH pariShad.h gataH shanair bubhuushhaya aasaktamanaa babhuuva || 1-4-36
Having seen the mannerly brothers endowed with beautiful features, Rama spoke to Lakshmana, and Shatrughna, and Bharata likewise. [1-4-31]
श्रूयतामेतदाख्यानमनयोर्देववर्चसोः | विचित्रार्थपदं सम्यग्गायकौ समचोदयत् || १-४-३२
Rama said to thus, "Let this ballad be keenly heard from these divinely resplendent brothers, for it contains versatile words and meanings...' and thus he motivated the singers. [1-4-32]
तौ चापि मधुरं रक्तं स्वञ्चितायतनिःस्वनम् | तन्त्रीलयवदत्यर्थं विश्रुतार्थमगायताम् || १-४-३३
Even those two singers have sung the ballad melodiously and effectually, with their clear and clarified voices, like the melody of string and rhythmic instruments, with very clear and meaningful intonation. [1-4-33]
ह्लादयत्सर्वगात्राणि मनांसि हृदयानि च | श्रोत्राश्रयसुखं गेयं तद्बभौ जनसंसदि || १-४-३४
Enthralling courtier's bodies, minds and hearts also, and thus that song shone forth as it is for all ears, bearing a comfort in its manifestation, among the gathering of the people. [1-4-34]
इमौ मुनी पार्थिवलक्षणान्वितौ कुशीलवौ चैव महातपस्विनौ | ममापि तद् भूतिकरं प्रचक्षते महानुभावं चरितं निबोधत || १-४-३५
"These two saint-like Kusha and Lava, who also possess kingly features, but they are great hermits... this narration is endowing good fortune to me also, listen to that great efficacious legend [of Seetha...]" [So said Rama to those courtiers.] [1-4-35]
ततस्तु तौ रामवचःप्रचोदितावगायतां मार्गविधानसम्पदा | स चापि रामः परिषद्गतः शनैर्बुभूषया सक्तमना बभूव || १-४-३६
Then those two singers, motivated by Rama's words, sang the ballad in maarga system, for they are well versed in it, then even Rama, who is also in the congregation, again to pacify his mind, [for the story of Seetha puts his mind to turmoil,] became interested at heart [to continue listening Seetha's story...] [1-4-36]
