3-62-4
Book 3 - Book of Forests
Chapter 62 - Sarga 62
Verse 4 - slooka 4
Kadalii kaand`a sadrishau
kadalyaa samvritaa ubhau
uuruu pashyaami te devi
na asi shaktaa niguuhitum.
CONTEXT
Rama was in the forest. Ravana , the demon king , abducted Sita. Rama and Lakshmana were searching for Sita.
Rama found a banana tree. He suddenly remembered that Sita's thighs were like banana stalks. She might have been perhaps hiding her thighs from Rama. It was inapt for her to hide her thighs like that , because Rama was her husband.
Rama was questioning the banana plants.
gistYour thighs might resemble banana stalks. You might have lapped your both thighs behind the banana groves. I can see the hidden things. It will not be possible for you to cover them like that.
COMMENT
*Rama was forgetting that Lakshmana was accompanying him.
*How can Rama open his private conversations with Lakshmana?
*Rama was said to be a maryaada purushottama (the best person of etiquette and manners). Referring to wife's thighs in the presence of a brother who was separated from his wife , is inapt / inept in the context of a husband searching for an abducted wife.
4 comments:
thanks for translation but the pathos with which Ramayana is talked about is missing
and yeah ,get well soon mamu ;-)
in this case i have to agree with wanderingmindz comment. you missed the point entirely.
What is this fuss all about. Taking minor things and highlighting. Don't you have any work. Otherwise analyse Quran and tell is Jihad in Quran?
Here poet Beautifully narrated Rama bewails for Sita as an ambivert, ambivalent romantic epical hero as Rama is certain to perish without Sita. Beautifully.
siitaam apashyan dharmaatmaa shoka upahata cetanaH |
vilalaapa mahaabaahuu raamaH kamala locanaH || 3-62-1
1. dharmaatmaa= virtue-souled one; mahaabaahuu= long armed one; kamala locanaH= lotus, eyed one; raamaH= Rama; siitaam a+pashyan= Seetha, not, being able to see; shoka upahata cetanaH= anguish, marred, sagacity; vilalaapa= bewailed.
In not seeing Seetha that virtue-souled Rama's sagacity is marred by his anguish and he bewailed with his lotus-like eyes that are reddening like a pair of lotuses, raising is long arms. [3-62-1]
Some mms use the word kaama in the compound shoka upahata cetanaH thus it becomes kaama upahata cetana and then it means 'his sagacity is marred by desire for Seetha...' and because of the adjacency of word dharmaatmaa 'righteous one...' 'a righteous desire is no sin to desire for... hence his desire for Seetha is righteous...' Then mahaabaahuu denotes that he is wailing raising his long arms, and kamala locana is indicative of redness of lotuses, thus his eyes are reddening by his wailing.
pashyan iva ca taam siitaam apashyan madana arditaH |
uvaaca raaghavo vaakyam vilaapa aashraya dur.hvacam || 3-62-2
2. madana arditaH raaghavaH= by Love-god, cowed down, Raghava; taam siitaam= at her, at Seetha; a + pashyan= [even if] not, seeing; pashyan iva= seeing, as though; vilaapa aashraya dur vacam= wail, sheltered [pampered,] badly [inarticulately,] speech [articulacy - because his speech took shelter of waling he is articulating inarticulately with a speech that is pampered by that wailing instinct; [ittham= this way]; uvaaca vaakyam= said, words [vented his heart.]
Even if Raghava is not able to see Seetha in his presence he started talking to her in a kind of inarticulate wailing, as wailing pampered his articulacy because his speech took shelter of wailing instinct, and as he is cowed down by Love-god, and thus he started to vent out his heart in this way. [3-62-2]
Here the poet is starting the sixth phase among the ten phases called manmadha avasthaaH 'phases of pangs of love,' and this one is called a + rati 'non-indulgence, the ambivalence, the ambiversion...' of the romantic hero, in romantic epical poetry.
tvam ashokasya shaakhaabhiH puSpa priya taraaa priye |
avR^iNoSi shariiram te mama shoka vivardhinii || 3-62-3
3. priye= oh, dear; tvam= you are; puSpa priya taraaa= by flowers, fascinated, very much; mama shoka vi vardhinii= [that which] to me, anguish, highly, amplifying one; ashokasya shaakhaabhiH= with Ashoka tree, branches [which are in full bloom]; te shariiram= you, body; aavR^iNoSi= veiling yourself [now.]
"Flowers fascinate you very much, my dear, hence you veil yourself with the full bloomed branches of Ashoka tree, but that alone is amplifying my anguish because you both have presently became tormentors. [3-62-3]
wonderful..........
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