Introduction
Valmiki composed twenty four thousand verses and taught them to Lava and Kusha, the sons of Rama and Seetha. The two youngsters sing the ballad among the assemblages of sages and saints, and win laurels. Rama on seeing the boys singing on the streets and king’s ways of Ayodhya, brings them to his palace, and summons all his brothers and ministers to listen to the ballad. Rama himself is put to the turmoil, for the ballad sung by these youngsters narrates the legend of Seetha. But he himself collecting his calm, Rama paid his attention to listen the ‘Legend of Seetha’ siithaayaH charitam mahat as Valmiki calls Ramayana.
Verse 1
प्राप्तराज्यस्य रामस्य वाल्मीकिर्भगवानृषिः |
चकार चरितं कृत्स्नं विचित्रपदमर्थवत् || १-४-१
The godly saint Valmiki composed Ramayana on Rama’s retrieving kingdom, wording admirably and meaningfully. [1-4-1]
1. bhagavaan R^iSiH = godly, saint Valmiki; praaptaraajasya raamasya = on retrieval, of kingdom by Rama; vichitrapadam = admirably worded; kR^itsnam = in entirety; charitam = legend; arthavat = meaningfully; chakaara = composed.
Verse 1
प्राप्तराज्यस्य रामस्य वाल्मीकिर्भगवानृषिः |
चकार चरितं कृत्स्नं विचित्रपदमर्थवत् || १-४-१
The godly saint Valmiki composed Ramayana on Rama’s retrieving kingdom, wording admirably and meaningfully. [1-4-1]
1. bhagavaan R^iSiH = godly, saint Valmiki; praaptaraajasya raamasya = on retrieval, of kingdom by Rama; vichitrapadam = admirably worded; kR^itsnam = in entirety; charitam = legend; arthavat = meaningfully; chakaara = composed.
Verse 2
चतुर्विंशत्सहस्त्राणि श्लोकानामुक्तवानृषिः |
तथा सर्गशतान् पञ्च षट् काण्डानि तथोत्तरम् ||१-४-२
Sage Valmiki said Ramayana in twenty four thousand verses, in five hundred chapters, in six books, likewise an end-piece too. [1-4-2]
2. R^iSiH = sage Valmiki; shlokaanaam = verses; chaturvimshatsahasraaNi = twenty-four thousand; tathaa = that way; panchasargashataan = five hundreds chapters; SaT kaaNDaani cha = six, books, also; tathaa uttaram = that way, an end piece; uktavaan = said.
Verse 3
कृत्वापि तन्महाप्राज्ञः सभविष्यं सहोत्तरम् |
चिन्तयामास कोन्वेतत्प्रयुञ्जीयादिति प्रभुः ||१-४-३
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]
3. mahapraaj~naH prabhuH = great scholar, godly-saint Valmiki; sabhaviShyam saha uttaram = with leading, with sequel; tat = that Ramayana; kR^itvaa tu = having composed, but; kaH = who; nu = really; etat = all this; prayu~njiiyaat iti = well render, thus; chintayaamaasa = thought over.
Verse 4
तस्य चिन्तयमानस्य महर्षेर्भावितात्मनः |
अगृह्णीतां ततः पादौ मुनिवेषौ कुशीलवौ || १-४-४
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]
4. tataH = then; muniveShau kushiilavau = Kusha, Lava in hermits attire; chintayamaanasya = thoughtful one; bhaavitaatmanaH = contemplating soul; tasya maharSheH = his, of the Sage’s; paadau agR^ihNiitaam = feet taken [touched.]
Verse 5
कुशीलवौ तु धर्मज्ञौ राजपुत्रौ यशस्विनौ |
भ्रातरौ स्वरसम्पन्नौ ददर्शाश्रमवासिनौ || १-४-५
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]
5. kushiilavau tu = Kusha and Lava; dharmaj~nau = virtue-knowers; raajaputrau = princes; yashasvinau = glorious ones; svarasampannau = endowed with melodious voice; bhraatarau = brothers; aashramavaasinau = residents of [of same] hermitage; [Valmiki] dadarsha = seen;
Verse 6
स तु मेधाविनौ दृष्ट्वा वेदेषु परिनिष्ठितौ |
वेदोपबृंहणार्थाय तावग्राहयत प्रभुः || १-४-६
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]
6. prabhuH = self-reliant sage; saH = he, Valmiki; medhaavinau = intellectual pair; vedeShu pariniSTitau = proficient in Vedas; dR^iSTvaa = having seen; vedopabR^imhaNaarthaaya [ kathitam kaavyam] = aiming at ancillary reinforcement of Veda-s[rendered, epic]; tau agraahayata = them two, made to receive [epic to memorise].
Verse 7
काव्यं रामायणं कृत्स्न्नं सीतायाश्चरितं महत् |
पौलस्त्यवधमित्येवं चकार चरितव्रतः || १-४-७
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]
7. charitavrataH = sage who observed all sacred vows; kR^itsnam kaavyam = entire epic; raamaayaNam = Ramayana; siithaayaH charitam mahat = Seetha’s, sublime legend; poulastyavadham = Ravana’s, elimination; iti = thus [naming]; evam cakaara = that way, rendered.
Verse 8
पाठ्ये गेये च मधुरं प्रमाणैस्त्रिभिरन्वितम् |
जातिभिः सप्तभिर्बद्धं तन्त्रीलयसमन्वितम् ||१-४-८
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]
8. paaThye geye madhuram = melodious to read and to sing; pramaaNaiH tribhiH anvitam = adaptable in three kinds scales; jaatibhiH saptabhiH baddham = orchestral sevenfold classification; tantriilayasamanvitam = string-instrument, rhythm, included.
Verse 9
रसैः शृंगारकरुणहास्यरौद्रभयानकैः |
वीरादिभी रसैर्युक्तं काव्यमेतदगायताम् ||१-४-९
Aesthetics like romance, pathos, comic, fury, fright, valour etc., embodying the epic is sung [by Kusha, Lava.] [1-4-9]
9. rasaiH sR^ingaarakaruNahaasyaraudrabhayaanakaiH = aesthetics, romance, pathos, comic, fury, fright, and others; viiraadibhiH rasaiH yuktam = embodying aesthetics like valour et cetera; kaavyam agaayataam = epic, is sung.
Verse 10
तौ तु गान्धर्वतत्त्वज्ञौ स्थानमूर्च्छनकोविदौ |
भ्रातरौ स्वरसम्पन्नौ गन्धर्वाविव रुपिणौ || १-४-१०
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]
10. tau tu gaandharvatattvaj~nau = they are conversant with musical art; sthaanamuurchanakovidau = proficient in pause pitch of voice; bhraatarau svarasampannou = two brothers with wealthy voice; gandharvau iva ruupiNau = celestial singers, like, in appearance.
Verse 11
रूपलक्षणसम्पन्नौ मधुरस्वरभाषिणौ |
बिम्बादिवोत्थितौ बिम्बौ रामदेहात्तथापरौ || १-४-११
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]
11. ruupalakShaNasampannau = privileged with in appearance charm; madhurasvarabhaShiNau = melodiously voiced in voicing; bimbaat iva utthitau bimbau = reflections issued forth like [from original] reflection; raamadehaat = from Rama’s body; tathaa aparau = like that, separately.
Verse 12
तौ राजपुत्रौ कार्त्स्न्येन धर्म्यमाख्यानमुत्तमम् |
वाचो विधेयं तत्सर्वं कृत्वा काव्यमनिन्दितौ || १-४-१२
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]
12. tau raajaputrau kaartsnyena = they, king’s, sons [princes,] in entirety; dharmyam aakhyanam uttamam = virtue expounding, best epic; vaachaH vidheyam tat sarvam = by voice, preserved [memorized,] all that; kR^itvaa kaavyam aninditau = doing so epic without fault.
Verse 13
ऋषीणां च द्विजातीनां साधूनां च समागमे |
यथोपदेशं तत्त्वज्ञौ जगतुः सुसमाहितौ || १-४-१३
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]
13. R^iSiiNaam cha dvijaatiinaam = of sages, also, of scholars; saadhuunaam cha samaagame = also assemblages of eminent persons; yathopadesham tattvaj~nau = as schooled, those two that are well aware of; jagatuH = sung; susamaahitau = with best concentration.
Verse 14
महात्मानौ महाभागौ सर्वलक्षणलक्षितौ |
तौ कदाचित्समेतानामृषीणां भावितात्मनाम् |
मध्येसभं समीपस्थाविदं काव्यमगायताम् || १-४-१४
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]
14. mahaatmaanau = those two great-souls; mahaabhaagau = highly endowed [with musical talent]; sarvalakShaNalakShitau = possessing all features; tau kadachit = those two, once; sametaanaam R^iSiiNaam = at a gathering, of sages; bhaavitaatmanaam = of pious souls; madhyesabham samiipasthau = standing nearby midst of assemblage; idam kaavyam agaayataam = sung this epic.
Verse 15
तच्छ्रुत्वा मुनयः सर्वे बाष्पपर्याकुलेक्षणाः |
साधु साध्विति तावूचुः परं विस्मयमागताः || १-४-१५
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]
15. sarve munayaH = all, sages; tat shrutvaa = that, on hearing; param vismayam aagataaH = great, surprise, coming on; baaSpaparyaakulekShaNaaH = with tears overspread eye-sight; saadhu saadhu iti tau uuchuH = splendid, splendid, thus, they, said [appreciated].
Verse 16
ते प्रीतमनसः सर्वे मुनयो धर्मवत्सलाः |
प्रशशंसुः प्रशस्तव्यौ गायमानौ कुशीलवौ || १-४-१६
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]
16. sarve munayaH = they, all the saints; dharmavatsalaaH = [saints] patrons of virtue; te priitamanasaH = they pleased at heart; prashastavyau = praise worthy ones; gaayamaanau kushiilavau = while singing, Kusha and Lava; prashashamsuH = praised.
Verse 17
अहो गीतस्य माधुर्यं श्लोकानां च विशोषतः |
चिरनिर्वृत्तमप्येतत् प्रत्यक्षमिव दर्शितम् || १-४-१७
“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]
17. aho giitasya maadhuryam = aho, ballad’s, melody [is superb]; visheSataH cha slokaanam = especially, also, of verses; etat chiranirvR^ittam api = all this though happened long-ago; pratyakSham iva darshitam = shown like happenig one presently.
Verse 18
प्रविश्य तावुभौ सुष्ठु तथा भावमगायताम् |
सहितौ मधुरं रक्तं सम्पन्नं स्वरसम्पदा || १-४-१८
“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]
18. tau ubhau = those two; sahitau = in oneness [of musical notes]; suSThu pravishya = very well, on entering [into the mood of epic]; madhuram = melodiously; raktam = rapturously; svarasampadaa sampannam = (shaDjaadi svarasampadaa) maintaining pitch and tune; bhaavam agaayataam = sang its import.
Verse 19
एवं प्रशस्यमानौ तौ तपःश्लाघ्यैर्महर्षिभिः |
संरक्ततरमत्यर्थं मधुरं तावगायताम् || १-४-१९
While the great saints of blessed ascesis are appreciating that way, those two melodiously sang very effectually and very meaningfully. [1-4-19]
19. tapaHshlaaghyaiH maharSibhiH = great saints blessed by asceticism; evam prashasyamaanau = that way, being appreciated; tau = those two; samraktataram = very effectually; atyartham = very meaningfully; madhuram = melodiously; agaayataam = sang.
Verse 20
प्रीतः कश्चिन्मुनिस्ताभ्यां संस्थितः कलशं ददौ |
प्रसन्नो वल्कलं कश्चिद्ददौ ताभ्यां महायशाः || १-४-२०
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]
20. kashchit muniH = someone, a saint; priitaH = pleased; samsthitaH = on getting up; taabhyaam = to them; kalasham dadau = bestowed a handy vessel; mahaayashaaH kashchit = verily reputed saint, someone; prasannaH = lauding; valkalam dadau = contributed jute robe.
Verse 20
प्रीतः कश्चिन्मुनिस्ताभ्यां संस्थितः कलशं ददौ |
प्रसन्नो वल्कलं कश्चिद्ददौ ताभ्यां महायशाः || १-४-२०
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]
20. kashchit muniH = someone, a saint; priitaH = pleased; samsthitaH = on getting up; taabhyaam = to them; kalasham dadau = bestowed a handy vessel; mahaayashaaH kashchit = verily reputed saint, someone; prasannaH = lauding; valkalam dadau = contributed jute robe.
